Kinda reminds me of when I randomly discovered (via searching OpenSea) that someone was listing artworks from the Rijksmuseum and AIC etc and insinuating it was authorized as a fundraiser and when I contacted the folks at those museums they were like “wut”

https://twitter.com/TinaRiversRyan/status/1370533790284722189?s=20

https://twitter.com/levinartgroup1/status/1634279316950269952

Anyway the NFT space (like certain corners of the art world, sure) continues to be plagued by grifters and hustlers and no amount of talk about transparency or decentralization should substitute for working with trusted individuals and orgs

Dear internet,

I know some of you out there really care about museums. If you follow me, you probably know I'm a curator at the @AlbrightKnox, the 6th oldest US art museum (founded 1862) and the oldest US museum devoted to modern and contemporary art. You probably also have a sense of the scope of our commitment to artists working with experimental technologies. We were the first US museum to exhibit photography as a fine art--back in 1910. (That was also the year we became the first US museum to have a female Director!)

Earlier in the spring, I tracked down an edition of an image that was produced by Boeing and included in the print portfolio accompanying the @ICALondon’s 1968 show “Cybernetic Serendipity,” curated by Jasia Reichardt (the first of many legendary female curators of media art) As @jacobgaboury explains in “Image Objects”—an instant classic in the field of media archaeology and the history of computation—the origin of this print is a model of the human body designed by William Fetter for Boeing in 1964 (whose boss coined the term “computer graphics”).

"So Hello Bitcoin was a gesture against automated trust and immutability, the two values from blockchain culture that I find more anti-social and that back then, I thought were creating a bad future for material and social exchanges."
the-crypto-syllabus.com/geraldine-juar… "It was impossible to be thrilled or excited about a technology so compatible with the libertarian and right-wing turn that started to be more apparent in internet culture around that time. How can you be excited about a technology promoted by right-wing populists...?"

Very grateful to the Cyborg Jillian Weise for giving me the framework to understand myself as a cyborg and a certain strain of transhumanist artists as tryborgs

https://twitter.com/jillianweise/status/1473406633359417354

“I know you think cyborgs are always imminent. But not here yet. However, I am a cyborg. And cyborgs are first and foremost disabled people. We’re the ones who have a fundamental interface with tech. We’re the ones who depend on tech to actually live. And we’re not new.” BOOM

PSA for #generativeart people—you should check out the catalog for the Francois Morellet retrospective at @DiaArtFndn. it’s full of useful ideas and gems like this work, “Néons ave programmation aléatoire-poétique-géométrique
(Neons with Random-Poetic-Geometric Program),” 1967 Also fyi @AlbrightKnox organized a show called Francois Morellet: Systems in 1984

"This sculpture is like a child's building toy made giant. The interlocking pieces are made of high-density polyethylene and fit together like a puzzle. The sculpture is meant to be changed, with pieces rearranged
at each exhibition. The sculpture was designed to be assembled and disassembled, so it can be stored and shipped easily. The sculpture is designed so that it can be placed on a wall, or on the floor, or even be suspended from a ceiling. It is made of hundreds of pieces that can be
rearranged to create different three-dimensional shapes. The idea

let's see if this manifesting thing works:
I co-curated an entire show at a major museum about technology and its impact on marginalized communities (surveillance, algorithmic bias, the whitewashing of the future), etc and ALL I WANT IS A SINGLE TECH REPORTER TO COME REVIEW IT @ianbogost already very kindly demurred so don't tag him here folks

My mom mailed me my old CD collection and @AnnieLowrey I think we should guess what is on this Dammit, Tina. (This is copyright 1992. Damn.)

“These numbers do not show the democratization of wealth thanks to a technological revolution. They show an acutely miniscule number of artists making a vast amount of wealth off a small number of sales while the majority of artists are being sold a dream of immense profit...”

https://twitter.com/tinariversryan/status/1384187484595113987

...Hiding this information is manipulative, predatory, and harmful, and these NFT sites have a responsibility to surface all this information transparently. Not a single one has.”

Now that I've had some more time to stew on this, let me try to do a better job of explaining this particular point.

When an artist sells an artwork to a museum, they retain copyright to the image, which means they can dictate how the work is reproduced. (1/)

https://twitter.com/TinaRiversRyan/status/1374822835806425097

But the museum gets to control what happens to the ***work itself***: eg which exhibitions it's included in at the museum, and whether it gets loaned to a certain show at another institution. It's the museum's physical, if not intellectual, property.

You guys. YOU GUYS. We (@ReginaHarsanyi @habitual_truant @KelaniNichole) sat down and read the legal terms and conditions of a very popular NFT platform, and our minds are blown. (1/) When you buy an NFT from them, ***you are not buying the work.*** Not even a little bit. You have no rights to it. The artist could still turn around and sell it to someone else (as long as they don't mint it). You really are just buying the NFT. (2/)

I'm enraged: A company called @globalartmuseum has begun minting NFTs of works in the @rijksmuseum collection. They claim "Any revenue derived from sales or rental will be shared with the museum" to help them during the COVID. How? Does the museum know about this?? Would love to see a rapid response from @MuseumDirectors @caavisual and investigation by @rpogrebin @the_gray_market et al. It's getting ugly out there, fast.

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHH HHHHHHHHHHHHHHHHH

This post has been 25 years in the making.

On December 22, 1995, I was diagnosed with Type 1 (aka juvenile) diabetes. I was 12 years old.

But today, I don’t want to talk about how I’m diabetic.

I want to talk about how I’m disabled. Until now, I have never identified that way. Even though I’ve always known that I am legally disabled (according to the federal government), I never claimed disability as an identity.