Arguably, the personal website is more important than social media platforms (though not, of course, than email, which is the face of work today), since at least its structure – not its distribution – is independent of the platforms of huge corporations like Facebook/Instagram, Tumblr/Yahoo!, or Google.
Could artists’ websites disrupt or shape the contemporary image economy, the current state of visual culture on the internet which is defined by hypercirculation, over exposure and low attention spans
as of February 2016, 486 Instagram photos are uploaded every second. That’s over 40 million images a day
Rather than images of the work, we get images of the work in a building; rather than an expansion of the ways art circulates online, it is an expansion of the tried-and-tested commercial model
Art – like all cultural production – has a complicated status online. It becomes ‘content’, that catchall phrase for the stuff that advertising is sold around
This might read like a list of service providers, but it shouldn’t: these are the structures through which contemporary art is viewed today
The answer to all of the above is that while we think we see a lot of art online, we are lost in a sea of images
It’s a requirement not only in order to build such a platform, but also simply to be able to imagine what is possible when working online
...But rarely do they facilitate access to the non-tech-savvy, be they artists who may want to work with them or viewers trying to understand the technique.