Where's the art?

In soaking up all of the information and innovations being offered here at PICNIC 2008, new questions are starting to develop in my mind. As an agent seeking to sell, promote and propel artists and galleries, searching for greater networks and exposure to get in front of collectors and companies is a neccessity. How can web presence and connectivity impact and change the face of business in the art world?

There are many ideas that are rolling around about webwork for the arts: 'virtual museums', galleries selling their work online rather than face-to-face, artists relying on their blogs and website to do the selling for them. How can we make these ideas work better for us? How can we make it more personal? And how are we supposed to find all of this information?

A couple of things have stood out -
Blogging and using tools to make the visual stand out (Zemanta and Visualblog), using keywords for easier searching, copyright protection for the artists and galleries through Creative Commons, etc. These are all tools that can bring great exposure to the artists and galleries, make them easier to find, and protect the value of their work.
How can all of these tools be tied together and keep the connectivity personal for the collector?

Check out networking sites like ArtLimited, ArtOlive and the big-wigs like Saatchi Online and others. There are loads of places you can gain information on the market: Luxury Culture magazine, EYEMAZING, GUP, and many more. These are all great resources for gaining a better idea of what type of work is out there, the quality and background on the artists and what is on the horizon for 'the next big thing'. These are webs that are incorporating comprehensive images, information and background on the work that is showcased. But in the end, most people want to SEE the work in person, they want to MEET the artists or connectors. How can we get them there?

An interesting idea presented yesterday here at PICNIC by Fiona Romeo from the Maritime Museum in London - mapping artifacts and artworks to tell a story about the items they have in their collection. Using Google topigraphical maps, they insert images of the pieces from specific collections in meaningful patterns that create context for the objects. This makes the work come 'alive' on the web! There is a way to find where these pieces came from, why they are important and what makes them distinctive. What if we could do the same with mapping for galleries and artists? Give context and access to these places that look intimidating to new crop of collectors? What would that look like?

Considering the overwhelming amounts of information on the internet and the intimidation factor many percieve galleries to have, one can conclude that most are not terribly motivated to dive into finding the work they want. What if by mapping these galleries and artists we could reach collectors and companies more effectively? By personally working in partnerships with galleries and artists to create 'virtual walking tours' we can provide context and information and invite them into these places that they would not have ventured into on their own. This could also serve to give access to people in other cities and countries to find context in a place where they had none. This way, when people choose to visit the galleries or contact the artists, they will already have a connection to the work they are asking about and would be more prone to purchase work in a shorter time frame.

Saying this will take work is an understatement, but it is work worth pursuing if it can connect more collectors and businesses to valuable and emerging artworks.