{"id":4187,"date":"2016-08-30T19:35:13","date_gmt":"2016-08-30T19:35:13","guid":{"rendered":"http:\/\/blog.niio.com\/wordpress\/?p=839"},"modified":"2022-05-31T14:34:01","modified_gmt":"2022-05-31T14:34:01","slug":"qa-with-kelani-nichole-of-transfer-gallery-part-2","status":"publish","type":"post","link":"https:\/\/www.niio.com\/blog\/qa-with-kelani-nichole-of-transfer-gallery-part-2\/","title":{"rendered":"A Conversation With Kelani Nichole of Brooklyn’s TRANSFER Gallery (Part 2)"},"content":{"rendered":"

We are big fans of Brooklyn based TRANSFER<\/a><\/strong>. Gallery founder\/director Kelani Nichole, started the exhibition space nearly four years ago in order to support and and cultivate artists with computer-based practices. Get to know Kelani:<\/p>\n

\"kelani-nichole-headshot\"<\/p>\n

What are the biggest challenges you face dealing in a digital medium both as a gallerist and as a curator?<\/b><\/em><\/p>\n

Technical details aside, I\u2019d say the biggest challenge currently facing the market for media-based artworks is around preservation <\/strong>and documentation<\/strong> of the artists\u2019 intent. \u00a0Much of the work I deal with is software-dependent, ephemeral, or online public artwork, so preserving the larger context and supporting platforms becomes the major consideration when appreciating these works. \u00a0Just as any traditional format of artwork, new forms of media require restoration and care, and have the added complexity of authentication.<\/p>\n

What are the biggest challenges in collecting digital art? <\/b><\/em><\/p>\n

Preservation<\/strong> and authentication<\/strong> are the two biggest challenges to growing a secondary market for these artworks. \u00a0Additionally, the body of criticism is still developing \u2013 the artworld is warming up to how to talk about these works, and successful institutional displays are somewhat few and far between.<\/span><\/p>\n

I\u2019m very keen to explore new methods of authentication<\/strong>. The current standard for authentication is a signed certificate, often accompanied by a digital still, editioned media storage device\/object or other accompanying physical ephemera. \u00a0In the near future I believe digital transfer of ownership will become more prevalent, as new standards emerge.\u00a0<\/span><\/p>\n

How do you think a platform like Niio will affect the medium of digital art?<\/b><\/em><\/p>\n

I think Niio has solved some of the challenges related to displaying these works. I\u2019m particularly interested in the workflows and collaboration points of the software between\u00a0collectors, curators, galleries \/ institutions, agents and artists and believe a method of seamless exchange is an important step to making the work more accessible. \u00a0<\/span><\/p>\n

You\u2019ve said that this year all the shows you\u2019re staging at TRANSFER feature only women artists. \u00a0Why is a series like that important to you?<\/b><\/em><\/p>\n

I dedicated 2016 to showing new works from the studios of women, all of them experimental in their format and looking to test new ideas from the studio at TRANSFER. \u00a0Gender balance was a hot topic in the artworld last year, a group of women working with new forms of performance and media were featured in \u2018Women on the Verge\u2019 in artforum<\/em>. \u00a0<\/span><\/p>\n

This article crystallized a movement I had started to engage with during \u2018gURLs\u2019 a night of performance at TRANSFER<\/a> \u00a0in 2013, and have been tracking ever since. \u00a0I found this article inspiring, and saw a timely opportunity to deepen my own understanding of the ways in which women are pushing into new forms of performance, installation and time-based media unlocking new opportunities for technology that are emotional and deeply human.
\n<\/span>
\nCarla Gannis<\/a><\/strong> launched my 2016 program, introducing a new body of 4K video works of self portraiture, a continuation of a year-long performative drawing project. \u00a0Claudia Hart\u2019s<\/a><\/strong> large-scale media installation was extended through the summer at TRANSFER. \u00a0Next I\u2019ll launch Angela Washko\u2019s<\/a><\/strong> first video game artwork in September, followed by a new body of work from Morehshin Allahyari<\/a><\/strong> in the fall.<\/span><\/p>\n

Read Part 1<\/a> of our interview With Kelani.<\/strong><\/p>\n

\"CpNq2vpVYAAN1wx\"
Claudia Hart<\/figcaption><\/figure>\n

 <\/p>\n

\"BOND_20160815-_11A8330\"
Carla Gannis<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

We are big fans of Brooklyn based TRANSFER. Gallery founder\/director Kelani Nichole, started the exhibition space nearly four years ago in order to support and and cultivate artists with computer-based practices. Get to know Kelani: What are the biggest challenges you face dealing in a digital medium both as a gallerist and as a curator?Continue reading “A Conversation With Kelani Nichole of Brooklyn’s TRANSFER Gallery (Part 2)”<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":4497,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7],"tags":[120,35,34,63,28,32,49,119,46,114,122,47,121],"yoast_head":"\nA Conversation With Kelani Nichole of Brooklyn's TRANSFER Gallery (Part 2) - Niio Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.niio.com\/blog\/qa-with-kelani-nichole-of-transfer-gallery-part-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Conversation With Kelani Nichole of Brooklyn's TRANSFER Gallery (Part 2) - Niio Blog\" \/>\n<meta property=\"og:description\" content=\"We are big fans of Brooklyn based TRANSFER. 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