Don’t miss this eye-opening panel, the first in a year-long series of ArtTable panels and workshops exploring the transformative impact of digitization on art practice, museum art interpretation, education and exhibition practice, and on traditional art world marketing assumptions,distribution structures and art criticism. 

Join us for a New Media Artists Panel Moderated by Heather Corcoran, Executive Director of Rhizome. 

Panelists: Artists Marina Zurkow, Wafaa Bilal and Brad Troemel

The April 8^th panel focuses on artists and new media art practices. Panel artists Marina Zurkow, Wafaa Bilaland Brad Troemel will present a thought-provoking and diverse group of projects that wed digital technological ingenuity with compelling content. Artists have always adopted and adapted new technologies for their art. What is different about new media art? 

Heather Corcoran, Executive Director of Rhizome at the New Museum, opens the panel with a snap shot overview  of new media’s evolving and ever emerging character to help contextualize why new media art practice is generating fundamental rethinking about art making, curatorial practice and many of the art world’s sacred cow premises, including how we define art itself. How does the variability and interconnectivity inherent in digital media change our perceptions of authenticity, authorship, originality, participation, ownership, art’s cultural value and purpose? We will consider multi-authored, net-based works of art, open sourcing and crowd sourcing, research-driven digital projects, digital art’s sustainability in a world where technology is quickly out-moded, intellectual property issues faced by artists, monetizing digital art works, and the democratization digital platforms offer artists in terms of global access to markets. 

Art lawyer, Alexandra Darraby, Principal of the Art Law Firm, and author of the new Guide to Digital Art & New Media, will share with artists, curators, galleries and students how new technology agreements track the complex intellectual property rights in new media, multimedia platforms. How do you assess IP Property rights of copyright and trademark, trade secrets and proprietary information when multimedia art may combine algorithms, game “skins,” 3D modeling and digitization of pre-existing content, layered with new creative product? Are there new strategic, economic and legal models for applying protections in digital art without stifling originality?

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