INTRODUCTION TO A.I.R. 

(the ad infinitum rider)

 (DRAFT 8/11/2005)  

 

IMAGINE.

PICTURE.  

CREATE.

 

The RIDER Project presents A.I.R. – the Ad Infinitum Rider – a conceptual contract guaranteeing resale royalties to artists and their heirs, ad infinitum.   A.I.R. is an element of The RIDER Project, a collaborative and experimental artists’ project located in the back of a moving Ryder truck.  All artists can use and enjoy the possibilities of A.I.R.  The true potential of this idea can be experienced by placing the three letters:  ~A~  ~I~  ~R~  anywhere on your artwork.

 

A.I.R. asserts that all artists – society’s Prime Movers – their children, grandchildren, great-grandchildren, and to whomever their ideas and bloodline continue, ad infinitum – should receive 5% of the resale revenue of every designated A.I.R. artwork resold.  1% of that sum will be allotted to other artists, in whatever way the artist or his or her estate deems fit.

 

A.I.R. is asserted in light of:

1 – the primacy of conceptual art

2 – the fundamental and universal biological relationships between art, artists, society and the planet (GAIA)

3 – standard economic dividends for primary shareholders

4 – what is Fair, Right and Necessary in the new millennium: the Human Trust

 

A.I.R. includes the conceptual condition that if this 5% resale royalty is not honored and paid, the designated artwork loses its artistic integrity and its status as “art,” in every possible form, kind, and context.  The work becomes null and void, and by losing its integrity it fundamentally collapses in on itself, becoming a conceptual “black hole.”  When an A.I.R. artwork is lost, a gaping conceptual Void remains, with its attendant gravity and the loss of all monetary value.  

 

A.I.R. is not a form of copyright.  It is a conceptual art move.  Place the letters A.I.R anywhere on your artwork.    Hide them.  Distort them.  Weave them into the fabric of your canvas.  BREATHE the A.I.R.  Why Not?

 

 

DRAFT  8/11/2005

 

CONCEPTUAL THEORY FOR A.I.R.

“Ready-made [is] an everyday object elevated to the most dignified level of an artistic object at the mere whim of the artist.” Bretón

 

A.I.R., as a conceptual art move, leverages the ideas of Marcel Duchamp, nods to Robert Raushenberg, and follows Yves Klein into the Void.

 

The Ad Infinitum Rider  (A.I.R.) states that every time an A.I.R. artwork is resold by a collector, dealer, auction house, artificial entity etc., the originating artist (or her progeny and estate) is owed 5% of the sale price before taxes, splits, commissions, costs, etc., ad infinitum.  This 5% resale royalty is applicable during the entire life of the artwork, following the life/existence of the artist, her progeny, ideas, or bloodline, ad infinitum, or 4ever, until the artwork is put to rest, in the Muse’s Mausoleum.

 

The A.I.R. 5% royalty can be claimed whenever an artwork is resold between private individuals, galleries, collectors, artificial entities, or when it is on the auction block.  The A.I.R. designation does not need to be explicit or easily recognizable for artworks to fall under the parameters of this universal conceptual contract.  The letters need only be pointed out either before or after the fact of sale.

 

A.I.R. includes the conceptual condition that if the 5% royalty is not honored, the designated A.I.R. piece of art is no longer “art” in any traditional, modern, post-modern or future sense.  Instead, the artwork falls from the universe of “art,” as we know it, and loses its artistic integrity and status as “art” in every possible form, kind, and context. 

 

An unpaid A.I.R. artwork will not gain the identity of “non-art,” or “anti-art,” but instead becomes “void” collapsing in on itself and becoming a conceptual “black hole.”

 

Those who would ignore the “Human Trust” that all A.I.R. art works are a part of will find themselves with something that appears superficially to be “art” but which is actually a void, a conceptual black hole, or burned art soul.  The crushing magnetism and resulting gravity of this ‘void’ have yet to be experienced.

 

The “life” of A.I.R. works can be revived from the void, and brought back to their original (electromagnetic) state by the backward payment of all outstanding balances.

 

A.I.R. is a concept that all artists can participate in, if they choose.  By placing the three letters ~A~ ~I~ ~R~ on their art, artists partake in the RIDER Project’s conceptual movement and they claim rightful ownership to 5% of all the resales of such designated artworks.  There is no statute of limitations on this conceptual art contract.  A.I.R. is not voidable, destructible, or finite.  All artworks with the letters A.I.R. on them fall under the parameters of this universal conceptual art contract.[1]

 

[1] Conceptual art refers to the notions of context and belief.  Context can elevate an everyday object into a work of art (as a result of art’s arbitrary nature), but belief completes and sustains that assertion.  The original nature of belief is evident in the shamanistic works of early cave paintings.  Belief, especially the belief in belief, is more fundamental than context.

If an artist can transform an everyday object’s existence into a work of “art,” then an artist can also take a piece of “art” and destroy and negate its status.  If the status of a work of art can be created from context and the whim of the artist, it can also be destroyed at the artist’s whim with an accompanying change of status, as defined by the artist.

 Robert Raushenberg’s “Erased DeKooning drawing,” (1953) points to additional terrain.  To erase a drawing is to create a ‘drawing’ in its own right.  The very process of erasing CREATES the new work of art.  Thus, in most contexts, the negation of status creates another piece of art.  

Or, to express this a different way, on the conceptual chessboard created by Marcel Duchamp, The RIDER Project and A.I.R. make a Knights move.  

 

DRAFT  8/11/2005

 

 

BIOLOGICAL Hypothesis

The sterile, rigged, and antiseptic art-market world, is not the place for art.  Not if it is hardy and strong.  The hemophiliac and handicapped artworks produced by the dominant cultures of incest, intermarriage in the art world do not demonstrate or exemplify what art’s nature was meant to be.  A.I.R. is rooted in the observation that art fulfills a critical, biological function in the social ‘body.’  Art and artists always have, and always will, function like blood and red blood cells in organic bodies.  By moving and inspiring viewers through a dynamic remarkably similar to the functioning of red blood cells in the body, art provides essential “nutrition” and “oxygen” to people because it offers new ideas, feelings, experiences, and inspiration to all, as well as carrying away waste, older ideas, and negative sensations through catharsis.

 

When art is mobile it brings nourishment to parts of the societal ‘body’ that might otherwise be ignored, or in most need of healing.  Mobile, vehicular art brings new and vital energy – ‘fresh air’ and ‘nutrients’ – into neighborhoods that usually do not experience such visual forms of information, communication, and stimulation.  This process is inherently non-discriminatory and nurturing, and it has the ability to tap into and awaken the latent energy of people in disenfranchised neighborhoods and, hopefully, increase the positive energy dynamics of those areas.

 

Artists create art in an analogous manner to that of the human body creating red blood cells.  Art originates in the marrow of the artist’s existence, and artists naturally create art to cleanse, nourish, and expand their being – to breathe, center themselves, and remember their existence.  Creating art enables a creator to focus on his or her symbolic “breath.”

 

Like blood, art is alive, and with its own life force and function, connected to the originating artist, and her blood and idea-line.  Just as red blood cells travel through the human body – art travels through the social body, bringing new ideas, sensations (parallel to blood bringing vitamins, oxygen, and nutrients) to the other human “cells” in the social body.  With each viewer these abstract exchanges of ideas, sensations and concepts, are transformed and eventually returned to the originating artist and her blood-idea line.  Creativity is the blood stream of the artist.  Art is an organic, natural and living substance, which springs from the earth, street and shit, and authentically nurtures those who experience it.

 

The Ad Infinitum Rider (A.I.R.) is offered to all artists as a small, but potential sustenance.  It enables artists to share the success of early works that have gained success and “functioned” in society, as evidenced by their desirability and market value.  And it assures a small, but critical nurturing link with younger, emerging artists. 

 

A.I.R. is also a unique avenue for artists who create free or public works and are currently contributing to society in a unique and vital way.  By generously spreading their art they are “nourishing” and “oxygenating” whatever inroads their works travel into, without any regard for the market economy.  These works maintain an independence, vitality, integrity, and authenticity, which is difficult to maintain in the marketplace.  And yet this is an important reason how and why art contributes and functions in our society.  Through the use of A.I.R., these artists could claim just financial remuneration if their works are eventually co-opted by the market.  By participating in the A.I.R. long-viewed conceptual universe, artists can choose to participate in the art world from a perspective and infrastructure that supports and facilitates giving good art to others freely, cheaply, honestly, and often.

 

A.I.R asserts that a small and clear/clean stream of pure sustenance, stemming from the original creativity of youth and wisdom of society’s most potent creative artists, should remain in the domain of the planet’s original and most powerful Prime Movers.

 

Place the letters A.I.R. anywhere on your artwork, and lay claim to your tiny and divine sliver of sustenance.

 

 

Economics:  Standard Economic Dividends for Primary Shareholders

Artists are the primary investors in their artworks, careers, and lives as cultural producers.  They are often the sole investors during the earliest stages of their career, and make long-term, high-risk investments.  Every piece of art created, all the studio hours dedicated, the years of focus and experimentation, the necessary, unyielding determination in the face of ongoing rejection, and a lack of financial and societal affirmation, are large and ongoing investments in the artist’s overall “holding company” which is herself.

 

The professional success of an artist and the value of her artworks are uniquely connected to the artist as an individual throughout her lifetime.  Artistry, overall oeuvre, vision, continuity, mythology, personality, personal history, and all other creative expressions all influence the reputation and success of an artist.  Unlike soap whose effective function and value are independent of the company that created it once it leaves the factory, the quality and value of art, in the marketplace, are often inextricably linked in an ongoing way to the creating artist.

 

The momentum and driving force of an artist’s entire oeuvre is determined by the continuing investment made in it.

 

The market and investment value of past works is dependent upon the artist’s reputation and (most recent) works.  When an artist’s work is positively received her overall reputation increases, and thus the value of prior artworks also increases.

 

The increasing market value for works of art is often determined by: (not in any particular order, and not limited to):

 

  •  The inherent “quality” of the artwork (formal, aesthetic, conceptual, etc.)
  • The artwork’s relationship to the artist’s overall vision and entire oeuvre
  • The artist themselves: the individual, their reputation, personality, facility, people skills, personal life/history, mythology, dedication to remaining an artist
  •  Historical time: how the work relates to the time period it was created within; the time period it is viewed within; the continuity or overall conception of history
  • Supply and demand: How rare the artwork is – how many were created, how many still exist, how many people want the artwork, who wants the work
  •  Who collects, sells, or has access to the artwork
  •   Whether the specific artwork, as well as the artist’s entire body of work, has been well preserved
  •  Whether artists, historians, and/or general public are interested in the artist
  • How influential the artist’s ideas have been upon others – particularly young artists
  •  The artist’s writings and related expressions and achievements
  •  

A.I.R. modifies the tired, old-fashioned market dynamic rewarding those who are economically capable of hedging their bets on young, unknown artists, to instead acknowledge, affirm, and reward the ongoing, high-risk investments taken by the artists themselves. 

 

By claiming an investor’s percentage over art that successfully “works” in the marketplace, “grows” in value, and “creates” profits/dividends – artists reinterpret the standard marketplace dynamic, and benefit from the increasing value of their primary investment.

 

As is standard in the marketplace, artists should be rewarded dividends when their investments grow in value; any and all increases in the artwork’s ability to “work,” and corresponding value should also have a connection to the ongoing primary share holders: the creator and his/her bloodline and idea-stream.

 

FAIR, RIGHT, and Necessary in the New Millennium

Who “owns” SPACE?  Does it belong to anyone?  Should you pay a fee to gaze at the star?  Or to enjoy a rainbow?

 

As humanity’s treasures and the planet’s limited resources are quietly being seized by the world’s largest economic players, (often megalithic corporations without one centralized brain), the resulting financial and energy “streams and currents” are becoming less accessible to those outside the economic power structure.  

 

Artists are society’s Prime Movers.  Art influences, informs, and shapes society.  Good art “moves” people.  Art’s effects “grow” and change within a society.  Art “works” and “breathes” and “lives” in the minds of viewers.  

 

DRAFT  8/11/2005

 

Creativity is a unique life force – it contains the spark of life and has the potential to move and spark others.  Inspired artists “carry a torch” or sacred flame, and bring the light and heat of creation to people.  The most successful artists can inspire others to believe, achieve, and soar. 

 

Inspirational art is “alive.”  It has a unique life force and the potential to move artists and others to action.  The attractiveness, vitality, life force, and intellectual magnetism of such work are created by this divine spark, and are connected to the originating creative artist. 

 

The knowledge that following the infinite and pursuing one’s dreams are the secret to self-realization and a full life, are the gifts of the artist.  By shooting for the infinite, you travel much farther than shooting for a specific defined point.

 

A.I.R asserts that a small and clear/clean stream of pure creativity, stemming from the youth and wisdom of all creative artists, should remain in the domain of the planet’s Prime Movers, and the earth’s original and most powerful Movers and Shakers.

 

This step is RIGHT and FAIR.

 

STEAL this IDEA!  (WHY THE FUCK NOT?)

Please Copy/Steal/Recreate this conceptual fillip to suit your individual needs and intellectual concerns. 

 

Write, paint, stamp, emboss, carve, silk screen, inlay, sew, project, carve, burn, spray paint, glue, solder, rub, varnish, burnish, or in any way place or hide the letters ~A~ ~I~ ~R~ on your artworks.

 

Check out The California Resale Royalty Act, Droit de suite, MutualArt, Creative Commons, CopyLeft, and talk with your friends about this idea.

 

 

Imagine.

Picture.

Create.