Sie sind auf Seite 1von 1

This list is incomplete. Comments are welcome.

You can sell a websites code and the right to control access to that code, as Olia Lialina did with her My Boyfriend Came Back From The War (1996). (A lengthy interview about this process exists, conducted by Tilman Baumgartel.) You can sell a work in a limited edition with or without also offering it online, as Rhizome did with Sara Ludy GIFs at the Armory last year (n.b. Rhizome are a prominent example, not the first example). In cases of limited editions, the storage medium can be anything from a flash drive to a DVD to a Dropbox. You can sell a work in a limited edition, and make it open-source, as with 0100101110101101.ORG's You can offer a work for free on YouTube, then base the price of that work as a limited edition on the number of YouTube viewers, as with Petra Cortrights video catalogue. You can sell a work in an unlimited edition for a set, modest fee, as curator Laurel Ptak did back in 2008 (n.b. similarly, Ptak was not the first to do this). You can sell a series of works in essentially unlimited editions, increasing the price as more collectors buy in; this is the model of Kim Asendorf and Ole Fachs GIF Market (2011), and was attempted before by Sarah Lucas and Tracey Emins The Shop, in the early 90s, which sold unlimited editions of multiple objects and doubled the price upon each purchase. You can develop ideas, and then ask people to commission them, as with MTAAs Website Unseen projects (1999-present). You can sell ephemera, as Thomson and Craighead did with their Dot Store (2002). You can sell minutiae and bragging rights, as with Lisa Jevbratts 1:1 (1999-2002), from which individual pixels were offered for sale on eBay. You can put ads on your site, as with (among others) Cory Arcangels Punk Rock 101 (2004), in which he offered Kurt Cobains suicide letter next to Google Ads banners. You can paint a portrait, then shake its sitter down for cash, as with exonemos A web page (2003), which depictedand subsequently was purchased byGoogle. You can be backed by a corporation in the first place, as with Japanese cosmetics frim Shiseidos CyGnet project. You can sell code (which is reproducible) along with a domain name (which is not), as Rafael Rozendaal has; Rozendaal is also notable for very publicly including contractual requirements forcing collectors to maintain bought webpages in perpetuity.