TXT

@txt-nyc

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Captured aura, with a twist?

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The art object, per Seth Siegelaub: ‘There’s a whole social fabric…I think if one wanted to describe this manifestation graphically, you would say that an art object would be a rock in a pool and a various functionary levels going out from this rock would be dealers, critics, the museums, the media, a whole fabric or system, all barricading that little object.’ From the Open Hearing of the Art Worker’s Coalition (AWC), circa 1969. Graphic by @soulincode

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How does the pattern of capital accumulation affect the art market? Can it be tweaked or rearranged? “It seems to me that the art market has a kind of secondary status in relation to the whole economy. It’s a playground for rich people, people who have extracted massive amounts of surplus cash through old-fashioned exploitation and want respectability and diversion. They have huge wads of cash, more than they can ever do anything with because inequality is at record highs, so they can spend amazing amounts on luxury goods.” -Ben Davis, Art Critic

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It would seem that the art is the one thing that you have and the artist always has and which picks you out from anyone else. There’s a class of human beings who make art and a class who don’t, some of whom happen to be curators or museums directors or museum trustees. This is the way your leverage lies. - Seth Siegelaub From the Open Hearing of the Art Worker’s Coalition (AWC), circa 1969.

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There’s a whole social fabric that rests very, very precariously on something we know as an art object, and art itself. -Seth Siegelaub From the Open Hearing of the Art Worker’s Coalition (AWC), circa 1969.

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Know where the levers lie.

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A focus on the first transfer, finance as social practice, at point of entrance to the art market. How might this intervention play out? This and more coming soon in Circulation, an upcoming TXT publication experiment.

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Truth from one half of White Pube.

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More work from the recent TXT residency outside NYC, forthcoming in our publication titled Circulation. ‘Who are you, really? When given an option, what values would artists and their intermediaries choose for a market?’

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Jerry Saltz on art market, circa 2007, ‘Seeing Dollar Signs’ in the Village Voice. ‘….a blend of economics, history, psychology, stagecraft, and lifestyle; an unregulated field of commerce governed by desire, luck, stupidity, cupidity, personal connections, connoisseurship, intelligence, insecurity, and whatever.’

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Good time to share some work from the recent TXT residency. Artists vs Finance. Who wins? Does it matter? What’s the question?

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Part of the Artist’s Contract for Decentralized Art (ACDA): If royalty rule broken, initiate ‘reverse duchamp’. Will it work? TBD

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Fungible unit plays with non fungible token. Result?

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A publication on TXT work to date is coming together…

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Still on the minds…

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Mapping, drawing, placing, thinking…

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A purported quote by Rauschenberg to collector Robert Scull at a 1973 Sotheby’s auction, after his “Thaw” (1958) artwork sold for $85,000, that Scull initially bought from Rauschenberg for $900. Rauschenberg went on to lobby and advocate to implement a royalties law in the US, an unsuccessful effort at the federal level, with some impact on a royalty law in California that is rarely used.

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From the draft preamble: ‘The ACDA transforms your artwork into a defined, art-centered asset, wrapped and protected by a set of rules at the crucial point of first transfer, when it leaves your hands and enters the art market.’

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