My name is Benjamin De Kosnik, an art lover who lives in SF. I have been a “mostly/sometimes” member of SFMOMA since the late 1990s.
Thank you for this meeting. This is a response to one of Neal’s provocative questions, which I will slightly restate as:
SFMOMA is perceived as a great museum, but not deeply engaged in our community. How can we be a better civic actor?
In the next three minutes (I took two), I will detail ten ways SFMOMA can make to be a better civic actor.
Have free admission every day
Have free admission every week
Have a free day once a month
Give SF residents free admission on the weekend, look at the de Young Museum for leadership here
Have free night hours once a week
Have late night hours (until midnight) once a month
Have free 24 hour open-access all-levels once a year in combination with external sites and community events, look at Paris Nuit Blanche here
Have 10% at-large or in-public or from-public members on the board
Is this the first of the 2020 required sunlight meetings? When is the next one? Next meeting is November 19, 2020. Please publish the dates and connection information for the next Sunlight meeting on SFMOMA’s usual public communication channels, including but not limited to the website, Twitter feed, IG streams, etc.
Have something special with Open Space: please double or triple down on this platform and make it even more of a community resource. Open Space is the only W.A.G.E certified art web publishing platform in the United States. Give the community a space/place on the Open Space platform and increase public commissions to do so.
Please address the Taylor Brandon IG controversy from earlier this year (and the continuing instances documented on the IG account ‘change the museum’) directly and commit to an ongoing discussion with the public in 30 days that allows comment and dissent.
Two archive images from Maria Porge’s article in American Craft, May 2007. A Whole Life: The Art (and Craft) of Ruth Asawa. The image on the left is a representation of the page as published. The image on the right is a representation of the original page with only the author text remaining.
How to think outside the cage that has grown up around art writing? Established art writers find it extremely difficult to find and make public past art writing. On-line archives for art magazines are more often than not missing , locked behind a paywall, and of poor quality. Subscriber archives at venerable publishers such as Art Forum consist of select articles since 2000, in the form of grainy screenshots of articles, often compressing both text and image into black and white jpegs of size 540 x 400. This tiny amount of information is equivalent to reading an Art Forum article on a 1980’s television, with 20% of the screen blocked by a potted plant.
At the same time, galleries like Hauser Worth list archives of press for artists. Is there a way to level the playing field for the authors of the original article?
Reprinting past work within the current publishing and legal climate is especially difficult. Reprinting is especially tricky for art writing, due to an excessive combination of out-of-print art publications, a forking trail of long-dead publishers, haphazard archives, lost or vague contracts, and wishful-to-woeful adjudication of republishing rights. In addition, clearing image rights with any artists (or other rights holder) under discussion is also required, and perhaps the image-maker or recorder as well. The complexity quickly becomes overwhelming, contributing to art history’s glacial pace at online organization and digitization?
An alternative that many art writers employ is to scan the print article and put links to the PDF’s. Depending on the publishing contract, authors may have explicit rights to do this. Some publishers put free versions of their publication or specific articles on their own websites, suitable for re-linking by authors. Several writers do full bibliographies with links to available PDF files.
What is best practice? What is legal? What is common? Could higher-resolution files for Art Forum be hosted at the internet archive?
How does this fit into the author/writer/artist identity elsewhere on the web? Is it linking to an academic or organizational affiliation? Or to academia.edu? Is it this linking to an amazon.com author page? Is it linking to the art writer’s canonical home page?
Is there another way? Is there a way to explicitly manufacture a transformation such that the new media archive’s existence has legal standing? Can transformative works be used to republish and protect fair uses for any of three purposes: preservation, a full-text search engine, and electronic access for disabled patrons who could not read the print versions?
boyd, danah. 2006. “Friends, Friendsters, and MySpace Top 8: Writing Community Into Being on Social Network Sites.” First Monday 11:12, December. http://www.firstmonday.org/issues/issue11_12/boyd/index.html
Hu, Yuheng, Lydia Manikonda, and Subbarao Kambhampati. “What We Instagram: A First Analysis of Instagram Photo Content and User Types.” ICWSM. 2014.
Something so simple that it can be described via a phone keyboard.
Current Facebook account types are: organization, person, fictional character. May I suggest one more?
Introducing the monad account type. This is an account by a person, using their real name, that has no wall and accepts no friend invitations. This account type can join groups, and sign up for event notifications.