Tim Whidden

Anybody working on a bitcoin-like system for selling digital art?

cave painting was not art for art sake

If you consider any art/cultural sector like a pyramid, emerging artists & artist-run spaces are always the foundation. What keeps a sector alive & relevant is a strong community of them — without it, the whole thing becomes irrelevant.

The Art Newspaper calling Sol LeWitt's, Yoko Ono's, etc., instructions "prompt-based image-making" flattens history into a contemporary buzzword. That's like calling Andy Warhol a selfie artist.

I just cancelled my Adobe licence after many years as a customer. The new terms give Adobe "worldwide royalty-free licence to reproduce, display, distribute" or do whatever they want with any content I produce using their software. This is beyond insane. No creator in their right mind can accept this . You pay a huge monthly subscription and they want to own your content and your entire business as well. Going to have to learn some new tools.

"The Hic Et Nunc experience felt very familiar in spirit to me. It warmed my heart to see this janky interface, which had less to do with the death by fire of CryptoArt and more to do with a new community that was coming next." - @auriea rightclicksave.com/article/o…

The End of Software docs.google.com/document/d/1…

💥TOMORROW 5/28 is my 50 BDAY💥 I am celebrating with a fundraiser to support @eai_org 🎂 As you may know, LoVid is represented by Electronic Arts Intermix (EAI), a leading distributor of video art founded in 1971. Their collection of nearly 5000 works ranges from the 1960s to the present, and includes a diverse roster of artists including Joan Jonas, Nam June Paik, Ulysses Jenkins, Vito Acconci, Charles Atlas, Cory Arcangel, John Baldessari, JODI, Michael Bell-Smith, John Cage, Sophie Calle, Tony Cokes, Dan Graham, Gary Hill, Shana Moulton, Takeshi Murata, Ryan Trecartin and so many more 📼 Video has been the center of my practice since 1997. Working in various styles and with all kinds of machines, time-based media creation, experience, distribution, and preservation is where my work and process begin. Coincidentally, this year EAI is celebrating the 50th anniversary of a milestone event in video art history: in 1974, @MuseumModernArt hosted Open Circuits: An International Conference on the Future of Television. The gathering brought together an international roster of artists, engineers, theorists, critics, and institutional representatives to discuss the emerging use of video as an art form, and its future. This conference was a catalyst for the founding of MoMA's video department, led by Barbara London. I'm seeking donations on EAI's behalf to support Open Circuits-related programming this year, to continue the conversation on video art history, contemporary practice, and future possibilities for the medium. There are two ways to participate: Give $50 and you will get a smile and an emoji OR Give $250 and receive: 📺week-long access to EAI's Online Viewing Room 📕PLUS a copy of the forthcoming volume: The New Television: Video After Television, which looks back at the original conference and towards the future of media art. Your own video art festival! if you are able I hope you can participate and show love to video and media art for generations to come 🙏 link to paypal donation page (credit card accepted) in comments👇

new-ish project started with hardhat, ethers & typechain. But, typechain is deprecated! Should I move to viem? @wevm_dev I'm using upgradeable contracts w/ OZ plugin, which uses ethers. so, not as straightforward to deploy/test as if i just stick w ethers/typechain

slowly then all at once -- real institutional interest in pre-nft digital art from 15-20 years ago. many such stories

🔥 Lynn Hershman Leeson on how she got her first gallery show 🤯 "The early challenge was getting somebody to show my work, because nobody would. The way I solved that was that I finished my degree at San Francisco State, but I didn’t finish it in the art department. I did my master’s thesis on art criticism. In order to do art criticism, I created three different fictional critics and they each had different names.  One of the names was a translation of Yerba Buena, which was Herbert Goode, another critic I had was Prudence Juris, and the third was Gay Abandon. These three critics would write in varying styles for very different kinds of magazines, from sophisticated European art criticism books to throwaway news that you put on people’s doorsteps. But one thing that they had in common was that they would write about Lynn Hershman and Lynn Hershman’s work.  So, I finally had all these reviews about my work, which I took to galleries, and that’s how I got my first show. And people say, 'Well, isn’t that dishonest?' Well, it’s more dishonest to not show women and not to consider even looking at your work if you’re female. So that was how I got my early start."

Finished listening to @dennnnnnnnny's @a16zcrypto podcast with @smc90 - such a good one! hearing them share notes about art and the experience of being both tech spectators, stakeholders and commenters is quite remarkable a16zcrypto.com/posts/podcast…