The art market’s main challenges are attributed to its opaque and unregulated nature. However, by using blockchain technology to publicly record ownership and verification of authenticity of each piece of art, all of the key issues that the art market faces could effectively be alleviated.
If a public ledger for all pieces of art would be created, each artwork could be authenticated by various experts and then verified to be original. This could then be recorded on a blockchain-based ledger, thereby drastically reducing the risk of forgeries entering the market.
Source: How The Blockchain Could Change The Art Market | BTCMANAGER
Pokémon, postage stamps and the strategy board game Risk. Simon Denny uses everyday objects like these to illuminate how technology shapes the way we live and work. In his latest exhibition, the Berlin-based New Zealand artist explores blockchain, the little-understood technology underpinning the digital currency bitcoin.Opening Thursday at New York’s Petzel Gallery, “Blockchain Future States” looks at competing views about how the technology should evolve.
Large cutout images of the leaders of three leading blockchain companies—Digital Asset Holdings LLC, 21 Inc. and Ethereum—stand near globe-like structures meant to highlight how new currency systems could challenge traditional forms of statehood. A Risk board for each firm lays out the company’s strategy to create a new world order. A similar installation, “Blockchain Visionaries,” is at the Berlin Biennale until Sept. 18.
Source: Blockchain Art Exhibitions Explore the Bitcoin Technology’s Future – WSJ
A couple weeks ago I had the opportunity to participate in the RightsTech Summit in New York City (full disclosure: Orangenius was a sponsor) where I spoke on a panel about “Rightstech in the Enterprise.” Several of my Orangenius colleagues also attended, including Steve Schlackman, who discussed “Rightstech Marketplaces,” Paul Jessop, who spoke on “Restoring Registration to the Copyright Equation,” and Jim Griffin moderated a panel on smart contracts.
A joint venture between Digital Media Wire and Concurrent Media Strategies, the conference featured an eclectic mix of lawyers, technologists, and businesspeople from all sectors of the creative economy — music, film and television, book publishing, and the visual arts. While the nature of the creative endeavors and associated business models represented at the conference were diverse and varied, it was striking how similar each industry’s rights management issues are. Fundamentally, each business is after the same thing: an accurate, dependable way of managing rights in creative works, and ensuring accurate, appropriate compensation for uses of those works.
Source: Four Things I Learned at Last Month’s RightsTech Summit – Orangenius Blog
Digital art is increasingly gaining traction in the contemporary art world. Phillips’s last two “Paddles ON!” auctions, which showcased digital formats ranging from GIFs to video game screenshots, have been well received. Blue-chip galleries are on board too; Pace Art + Technology, a new 20,000-square-foot space in Silicon Valley, is dedicated solely to digital media. Digital art collectives—Japan’s teamLab being the most prominent—have also sprung up.
Most importantly, prices are rising. In 2003, Cory Arcangel’s Super Mario Clouds, a wall projection birthed from a hacked Nintendo chip, sold for $3,000. Last year, an edition of that same piece went for $630,000. Still, the question remains: How can a gallery sell digital content as investment-grade art when it already exists online and can be copied like a Google Doc? The answer is blockchain, the same computer technology that serves as the public ledger for bitcoin transactions around the globe.
Source: These Four Technologies May Finally Put an End to Art Forgery
The internet has changed almost everything. But it hasn’t changed copyright. In fact, it’s made it more difficult for artists to protect their work by making it free and instant to copy. The technology companies that could help artists, were built upon economic models that deter them from doing so.
It is crazy to think that with all the web has to offer, there is no simple way to identify the copyright ownership for files on the web. No way to respect the creators or determine how to pay a license or royalty. No way for you to know when your copyright was violated.
Source: Democratizing Copyright — Medium
An artistic project has launched a crowdfunding program to highlight the perceived negative influence of blockchain technology on art.
The project, based in the UK, aims to print an illustrated book titled: Artists Re:Thinking the Blockchain to explore the effects of this new technology on the artistic fields. The funding will also go towards hosting a public discourse program in London. The project underscores some artists’ uneasiness at the thought of this new technology being introduced into the world of art.
Source: Blockchain: Good or Bad for Art and Artists?
If you’ve ever considered downloading a digital image of an artwork from a museum’s website, you probably know rather well that the world of copyright is an incredibly murky and difficult one to navigate. Even if artworks are in the public domain — in the US, this means copyright has expired, 70 years after an artist’s death — many cultural institutions still claim copyright on the digital representations that they have created and share on their websites. While exceptions largely allow users to download these pictures for personal, noncommercial, or educational purposes, these online legal conditions are often still difficult to completely understand, or sometimes, even find.
Display At Your Own Risk is a primarily web-based experimental exhibition that examines the current status of digital cultural heritage and public accessibility to it through the online collections of some of the world’s most physically frequented museums.
Source: How User-Friendly Are Museum Image Rights?