Fad or innovation? First ever entirely online art fair to launch next year

ART EVENTS PROMOTING CONTEMPORARY ART ART SALES ART FAIRS ONLINE

Art Radar Asia was recently sent information on an event new to the art promotion circuit – VIP Art Fair is the first fair to be run entirely online. The event will launch on 22 January, 2011 and was founded by experienced art professionals James and Jane Cohan from James Cohan Gallery and Silicon Valley-trained technology and marketing specialists Jonas and Alessandra Almgren.

The fair will be free of charge and 45 international galleries have already signed up. Standout features include a VIP Lounge where special films of private collections and artist studios will be available to view, interaction between buyers and dealers through Skype and instant messaging, and a function which will allow fair attendees to take tours of the virtual gallery including the ability to zoom in on artwork detail.

A snapshot of a VIP Art Fair gallery page. Image courtesy of VIP Art Fair.

Read the press release:

HONG KONG, August 19, 2010 – VIP Art Fair, the first art fair to mobilize the collective force of the world’s leading contemporary art galleries with the unlimited reach of the Internet, announces its inaugural fair taking place exclusively online for one week only, January 22-30, 2011, at www.vipartfair.com.

An unprecedented event, VIP Art Fair gives contemporary art collectors access to artworks by critically acclaimed artists and the ability to connect one-on-one with internationally renowned dealers—from anywhere in the world and without leaving home.

“For anyone passionate about art, the Fair is a transformative experience: it delivers all the excitement of world-class art fairs with the convenience and personalization of the Internet,” said James Cohan, co-founder of VIP Art Fair in collaboration with Jane Cohan, Jonas Almgren and Alessandra Almgren. “We’ve invited the most prestigious international galleries, both established and emerging, to come together for an online event, creating a virtual community that will allow collectors, curators and the public to access distinguished galleries and learn about their artists, all with unparalleled ease and absolute discretion.”

VIP Art Fair Founding Galleries David Zwirner (New York), Galerie Max Hetzler (Berlin), White Cube (London), Gagosian Gallery (New York, London, Beverly Hills, Rome, and Athens), Gallery Koyanagi (Tokyo), Hauser & Wirth (Zürich, London, and New York), Anna Schwartz Gallery (Melbourne and Sydney), Xavier Hufkens (Brussels), Fraenkel Gallery (San Francisco), Kukje Gallery (Seoul), Sadie Coles HQ (London), and James Cohan Gallery (New York and Shanghai) will be joined by other international contemporary galleries. A partial gallery list is now available online. A complete list will be made public this fall.

VIP Art Fair Features

The revolutionary design of VIP Art Fair allows art collectors the opportunity to view artwork online as never before. VIP Art Fair’s innovative technology presents artworks in relation to other works of art and in relative scale to the human figure. Inquisitive visitors can zoom in to examine details of a painting’s surface, get multiple views of a three-dimensional work, and watch videos of a multimedia piece. Galleries will provide comprehensive details on artworks and artists, including biographies, catalogue essays, artist films and interviews, and in-depth information that will empower collectors.

One of the many distinct features of the Fair is the interactivity between dealer and collector. Each dealer has the ability to hold conversations with collectors via instant messaging, Skype, and telephone to discuss works on offer in the virtual booth. Dealers can also provide access to their gallery’s back room inventory, sharing works in real time with clients in specially-created Private Rooms on the client’s own computer screen.

There are many ways to explore the Fair, including online tours which are core to the VIP Art Fair experience. Visitors to the Fair can choose from a wide selection of tours—whether of featured works or a tour created by collectors, critics, and curators from participating museums. Visitors also can design their own personalized tours of the Fair that showcase their favorite works and can be shared with friends or posted in the VIP Lounge. Other ways to navigate the site include the Fair Map and advanced searches based on criteria of interest, such as artist’s name, medium, or price range.

The VIP Lounge is where visitors can watch specially commissioned films of leading private art collections and artists’ studios, check out Fair tours created by other visitors, access status updates on art market news, and learn about new works on view in the Fair.

Accessing VIP Art Fair

The Fair will open on Saturday, January 22, 2011 at 8:00 a.m. EST and conclude on Sunday, January 30, 2011, at 7:59 a.m. EST. Browsing the Fair is free of charge. To access interactive capabilities, visitors must have a VIP Ticket, which on January 22 and 23 will cost $100 and thereafter will cost $20. Visitors are encouraged to register in advance.

Editors’ Note

It seems the international art community is divided in its opinions regarding the success of online sales of artworks.

Pearl Lam, Director of Contrasts Gallery, speaking at the 2010 Art Taipei Forum, stated that,

“We have been selling paintings [through the Internet], that was in the good season, but at the present moment all the collectors … want to see the paintings…. Today, there are still collectors who are buying [through the Internet] but it’s less than what we used to have. We used to have ninety percent of them, … all [through the Internet] and they were not cheap … paintings. We still [sell through the Internet] but reduced and also depending on the price of the painting.”

However, Saffronart, a constant pioneer of new technologies in the art auction arena, recently introduced a mobile phone bidding application to it’s seasonal auctions.

With increasingly more mobile ways to access the Internet and new features which allow users to better explore and interact with virtual space, such as those that will be presented at VIP Art Fair, it’s hard to tell if this is a fad or the first successful move into better utilising this new sales territory.

What do you, our readers, think?

KN

Related Topics: promoting art, art collectors, art fairs, art and the Internet

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• A Sunday at Art Taipei – gallery comments, Australian media art, Pearl Lam – August 2010 – a bundle of images and quotes relaying what was seen and heard at the fair
• Will Youtube become a new platform for for video art? Guggenheim experiments – July 2010 – report on art promotion collaboration between these two organisations
• World’s top collectors and art professionals attend ART HK: a testament to fair’s growing importance – June 2010 – an overview of who sold what to whom and why
• American visual artists react to Google’s book grab – April 2010 – a New York Times article outlines the copyright issues involved in the building of Google’s new online “library”
• Krishna Khanna traces evolution of Indian modern art: innovative interview technology used – April 2010 – this 30 minute podcast is organised into searchable snippets of information

Subscribe to Art Radar Asia for more on the ways the art industry is using new technology

4 tips on how to make your art tour memorable – a museum case study by Nina Simon

ART TOURS TIPS AND RESOURCES MUSEUMS TOUR GUIDES

In a recent blog post, Nina Simon, author of The Participatory Museum, a book that talks about practical innovations to enhance community and visitor participation in the museum experience, looks at the simple yet effective model of a “customised” tour guide employed at the Wing Luke Asian Museum, Seattle.

Nina Simon, author of 'The Participatory Museum'.

Like the majority of museum-goers, Simon’s disdain for historic building tours supplied by worn out verbal drone machines is unabashed. For Simon however, this necessary component was made special by what she calls a “customised” tour guide.

What made it so special? The guide, Vi Mar, was an incredible facilitator. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way.

Simon notes four distinct points that made her experience special. First on her list is creating a friendly and participatory environment. Here’s how Simon says Mar did it:

There were eleven of us on the tour, all adults, mostly couples. Vi started joking with us about our relationships and hometowns while making sure we all remembered each other’s names. She made it clear from the start that we were expected to address each other by name and have fun with each other.

Next, Mar repeatedly drew on personal stories and anecdotes, encouraging friendly interaction between the visitors and the tour guide. Her own relationship with the museum objects was part of the tour. Simon says,

We walked into her (Vi Mar’s) family’s historic association hall and a replica of her uncle’s dry goods store. She showed us her name on a donor wall in the museum. Again and again, she told personal stories of her interactions with the historic and monumental people and events she described. She was political. She told family stories. It felt like she was letting us into her world in a generous, funny way – and that encouraged us to relate and share as well.

Simon claims that these tools could be employed by any museum. She says,

Participatory facilitation can be taught. Passion, confidence, and personal connections to the content – those are the hard things to teach.

Four ways a museum can improve their tour experience

• Create a friendly and participatory environment at the beginning of the tour
• Encourage open interaction between visitors and tour guide
• The tour guide should draw on personal stories and anecdotes and should encourage visitors to share their views
• Keep the tour light and humorous

AM/KN

Related Topics: museums, promoting art, resources

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• Korean National Museum of Contemporary Art Young Korean Artists retrospective spans 30 years – May 2010 – a look at renowned top Korean artists across generations within the span of thirty years since 1980

Subscribe to Art Radar Asia for more tips and resources to improve art promotion

Hong Kong a desert for new media art? New gallery I/O an oasis – interview

HONG KONG ART GALLERY CREATIVE DIRECTOR INTERVIEW

Situated on Hong Kong’s Hollywood Road, Input/Output (I/O) is not a usual kind of gallery with ink paintings, sculptures and canvases on display. Instead, being the only gallery in Hong Kong that is primarily focused on promoting new media arts, it is set to de-marginalize the “quirky” art genre through facilitating critical exchanges about it in exhibitions, workshops, talks and meetings with artists. Glass-fronted, the small gallery has been successful in attracting a wide range of visitors, from curious passers-by and tourists to students, curators, artists and professionals from various fields, to gather and have conversations about new media arts.

Having been open for a year, the gallery has held several exhibitions which showcased new media works of art graduates and practitioners mostly from Hong Kong. Presenting Chinese graduate artist Lu Yang’s “A Torturous Vision” this year, the gallery has inspired debates in Hong Kong that question the definition of new media arts and how it binds science, art and technology.

Art Radar Asia spoke to Rachel Connelly, Assistant Creative Director of I/O, to find out more about the background of the gallery and its ambitions going forward.

How is I/O funded?

It’s funded privately – by sales.

Why is I/O situated on Hong Kong’s Hollywood Road?

I think when I came on board, this had already been decided. But it’s a very central location – obviously Hollywood Road is known for its art galleries. We are providing something unlike the commercial spaces that focus more on traditional arts, so we try to provide something very different. We also have the advantage of having a glass-fronted space; people that walk by are very intrigued by what we do.

What led to the establishment of I/O?

The gallery is a platform for new media arts. It is owned by a new media artist, and having realised that there are not many platforms here in Hong Kong for exhibiting new media arts, he wanted to provide a space to promote them. He’s from Hong Kong.

Why is new media art interesting to you?

Being new to Hong Kong and completely new to media, my background was non-profit art-spaces and contemporary visual arts, but not necessarily new media. New media is a new term, a new genre and I wanted to explore that.

There’re obviously a lot of new media artists in Hong Kong, and in China more so, but it is a new genre, too. To me, it’s interesting what it is that defines new media, and what makes it different from just being termed ‘sculpture’, ‘installation’ or mixed media work.

So it is also quite interesting to discover what this term means to artists. It is not our role to give the answers to these questions; our role is to create dialogue around new media art practice and provide exhibitions that ask questions about that. Coming from England, the idea of coming to Hong Kong and China, to where new media art has a great reputation outside itself, was exciting; it is something that artists are really interested in here.

Is the new media art market doing well in Hong Kong?

As I saw it, new media occupied a slightly marginalised and kind of quirky position. It needed to almost come to maturity and stand up for itself as a new genre. The way I saw to do that was to place it within contemporary arts and the conversation around art practice. So everything that is shown in the gallery needs to be asking these questions; it cannot just be about the technology.

I think in terms of the Hong Kong market, the art that is bought here is still very traditional.

What has the I/O done to promote new media arts?

Within a year, we’ve literally been in a position of educating people about new media arts, and we have done this by providing them with exhibitions that will show them examples of that. This is still very new, and so we are also telling people how it is possible to actually buy all these objects, by providing them the equipment necessary to show these works in their homes. We will also help to install it.

Last year we were kind of in a position of educating about new media – because people are still very traditional here in terms of art buying. People buy paintings and sculptures mainly.

Last year we raised a lot of interest by having a lot of different shows ranging from film works and CG animation to even the canvas … we have created a lot of interest in terms of questioning the genre.

What do you think the “traditional arts” in Hong Kong are?

It’s canvas, ink paintings, sculpture, etc.

Who are the people that I/O wants to “educate”?

It’s not really educating but promoting, getting people to be aware of what you’re doing and also to encourage people to switch their focus from more traditional arts to new media. And so it’s just the idea of making people aware that it is there – not necessarily a role, but a position that we find ourselves in, which is fine because that’s still exciting.

How does I/O decide what to show and what not to show?

It is a selective process, project-by-project. We are selecting artists from the world of new media, but then, like I said, it depends on what you see as new media or what artists within the genre, see that to be. I wanted to get away with the idea that it’s just about technology – even if that is important … it’s a new tool, which is fine, but it needs to stand up in terms of content.

'Experiments on the Notation of Shapes' by Joao Basco Paiva is an audio visual installation where architecture is translated into sound, creating a fictional sonic expression of Hong Kong's cityscape.

Is there something that I/O would not show? Are there any examples of new media art that it wouldn’t show?

Have you got a definition of new media arts? Because I haven’t. It is still being decided and that is why it’s very exciting. It is at a very raw stage. It’s what I have been saying – encouraging conversations around what new media arts are. It’s not about definite answers; it’s about discussing what the genre is. Some people think that it’s about software; some people think that it is CG animation; some people think it is interactive self-generative programs. In the case of Lu Yang she has two canvases of her series of five, and this adds to her conversation around bio-art and what that is; I was intrigued about that and wanted to have those conversations in the gallery. So in this case, canvases fall under that. Primarily, it’s about discussion.

So you think that there shouldn’t be any boundaries to art?

Art is about questioning the boundaries, whatever they are. It’s not necessarily an artist’s role. If you are asking me about censorship, that’s a different question, I don’t think there should be censorship, no.

Why does I/O choose to show Lu Yang’s “A Torturous Vision”?

From the beginning I felt that it was necessary for I/O to create a dialogue around what new media is, in order to raise it out of its slightly marginised state, to raise awareness of new media as a genre, and almost ask it to ‘stand up’ for itself, within a contemporary fine art context. It means different things to different artists here in Asia, and even more different to artists in Europe.

All our exhibitions have been trying to create a conversation to discuss what these might be. An example was an early exhibition, “New Media, New Thinking”, which was in response to a call out that I did among artists living in Hong Kong. Proposals came back from very different artists, and I chose three that seemed to all agree that new media had central main themes around interactivity, and also the use of technology.

One was quite a traditional medium actually – film, but questioning the medium itself. By placing the participant directly between the projection and projector, he is questioning the audience’s interactive role within the work.

The second piece, by Evan Roth, was a 3D graffiti app for an iPhone, who said the interactivity for his work couldn’t be any larger than the internet community that views it – he actually uploads all his work using open source software, and then it is available for you to download for free.

The third piece was animated paintings, based around German Abstract Expressionism and ink paintings, but here the artist asks you to interact just by spending time with the work, letting your subconscious unfurl.

These three different approaches interested me [as] to how new media is being used by artists today. We then showed works by Portuguese artist Joao Vasco Paiva, which used complex programming to create a self generative orchestrated score for two projections focusing on Hong Kong cityscapes.

Lu Yang was as intriguing as she falls loosely into a genre, which is much larger in China, called  ‘bio-art’ and this interested me in terms of the discussion around art and science.

What has been the reaction to Lu Yang’s “A Torturous Vision” so far?

Great. It’s intriguing; it pushes all of your buttons. It is an exhibition of extremes. All the artists inspire you in different ways. We have had different people across the board coming in, from science academics, to people visiting Hong Kong and walking past, to artists who came to hear the recent talk by the artist herself.

I/O is also running an off-site project. What is that about?

I/O Off-Site is a way of promoting new media arts in a more public context; it’s also a more commercial project. I still feel that new media arts are still very marginalised and therefore by promoting the media in public places, in interesting developers to use new media arts to show in their buildings, not only continues the conversations, but then in reality we can get media artists jobs! Artists need to survive.

How is I/O different from other galleries in Hong Kong?

We are a commercial space, but we are solely focused on the study of new media. We also run more on a project-by-project basis, as opposed to having a stable of artists that we represent…. We are solely promoting new media arts, but we also offer an events programme that runs along the side our exhibitions. That makes us very different from most commercial galleries. Non-profit organisations like AAA and Para/Site may have this, but not many others commercial galleries. But we saw it necessary to continue the conversation, not just through exhibitions but around talks, events, music programming, film screenings; all these different events are about encouraging the discourse.

What does I/O want to accomplish in the Hong Kong art scene?

The idea of promoting new media arts and artists, to get it on the map. To provide a platform solely focused on this.

What has been the development of I/O so far?

In a year, I feel that in terms of people knowing about us, what we do through our exhibitions and events programme, we have achieved a lot. We are trying different things and providing programs of varying interests. This year we’ll go into our Off-Site project – that’s a whole other exciting year to come.

How is I/O going to develop?

The first year we worked with primarily artists that lived in Hong Kong; the second year is about exploring further into China and Asia. Off-Site projects will be more of a focus too, and this will be artists from all over the world. Future development will be concentrating on taking new media outside the traditional white cube.

Art Radar Asia recently published an overview of young Chinese artist Lu Yang’s controversial bio-art exhibition “A Torturous Vision” – read it here.

CBKM/KN

Related topics: business of art – promoting art, new media art, venues – Hong Kong

Related posts:

• Young Chinese artist Lu Yang brings anti-humanist elements to the Hong Kong art scene – June 2010
• London’s Michael Hoppen pioneers photography at Art HK 10, plans Hong Kong gallery – interview – June 2010
• Hong Kong’s Adapta Gallery highlights street art in Asia- profile – April 2010
• This is Hong Kong: video art exhibition highlights differences between Hong Kong and the mainland – March 2010
• Sound art, trickery and time – interview Hong Kong new media artist Chilai Howard Cheng – November 2009

Subscribe to Art Radar Asia for interviews with Asian contemporary art galleries

Do you rank high on google? Why most art dealers don’t, why they should and what to do about it

ART MARKETING FOR FREE ON INTERNET

Getting a super-high google ranking is critical for anyone who is interested in promoting art. In this post we focus on the particular challenges facing dealers and give simple starter steps to help improve rankings massively. 

Neglected area of arts marketing

This is an area of marketing which is often neglected by gallerists who have no idea that they are missing out on engaging with valuable contacts and prospective customers. Think about it…if you learn how to harness Google, it can be your 24 hour online salesman who never goes sick and never needs to be paid. 

Google: the ideal salesman

Google attracts pre-selected interested buyers who are actively seeking information and Google provides these pre-qualified buyer with information about your gallery and artists. And what is more Google is selling to your customers wherever in the world they are day or night whenever they want the information. That is service!

Test your own keywords

Would you like to get Google selling for you? Then let’s try a test right now:

Open a new window, go to Google search and type in your gallery name and after that the names of your artists. 

How high up does your gallery name feature when you do a Google search on those terms? Does your gallery name get linked directly or is it mentioned in a press piece on the results page? Perhaps you cannot see your name at all? Take a good look at the other sites which are ranking on the first page for your artist names and other search terms – these sites are your competition so examine them carefully.

Research shows that customers increasingly seek information on big-ticket purchases from the net and this is a growing trend for art buyers too. Four or five years ago there was little art information available but today collectors go straight to the net to seek out reviews, prices and bios to help them decide who, where and what to buy. 

Now imagine…if a prospective customer is doing some pre-purchase research on an artist you represent, wouldn’t you like to be right there on the first page of google ready to help? If a museum curator or researcher is planning a show and wants information on potential artists to include and is researching one of your artists, wouldn’t you like to be their first port of call?

The next step is to take a look at how your results compare with the norm. So how did you do? Are you on the first page?

Most people do not click beyond the first page of Google’s search results – in fact many people do not take the trouble to scroll down to the bottom half of the screen. Is your gallery name listed “above the fold” for your artist names and other relevant search terms?

If it is not, then there is work to do. But don’t despair, improving your ranking is surprisingly easy and even better in many cases, completely free.

Most dealers will find that their gallery name is probably up on the first spot on the first page of Google but it will be hit and miss whether they rank for the names of their artists. Generally the artists’ own sites (if they are web-savvy) will rank top of the page for their own names and that is right and proper. However what dealers should do is take up as many spots as possible on the rest of Google’s first page for each of their artists. 

 Although this is a large topic – whole books have been written about search-engine optimisation – this post is going to give you an easy-to-implement tip and actions steps to get started. (If you would like information on several more techniques keep subscribing – we will be covering more techniques for making the most of the internet in future posts.)

TIP: Comment on high authority sites

For instant results leave comments on websites which already have a high page rank. These may include blogs, information sites, newspapers online and online forums and discussion groups.

Get into the habit of reading your newspapers online and subscribe to art-related feeds so that you can spot opportunities to comment. Sign up to google alerts so that you are alerted when your artist is mentioned.

When you find somewhere to comment, make sure that your comment is relevant and not merely promotional though.  Weave in your artist name, your gallery name and  – this bit is very important – try where possible to include the gallery link in your comment.  These words are your keywords which Google will use for indexing your comment in its database.

Three reasons why you need to leave comments

Leaving comments helps you boost your page rank and the higher your page rank the more likely you are to achieve a good position on Google search results.

Why is commenting so useful?

First,  make sure you leave a link to your website when you make a comment. Linking from other sites to your own can boost the ranking of your site. Google assigns page rankings based on a secret algorithm, part of which is concerned with how many websites of good standing link to yours. Websites with larger numbers of inbound links and with links from high authority websites are assumed to be more important and are given higher rankings. 

Second you are reaching people who will see your comment and click through your link to reach you. The more visitors you have, the higher your ranking. 

But the third reason is the most important, Google searches and indexes comments. This means that if you leave a comment on a high authority site, it is possible to achieve high visibility on the first page of google for your comment. For example recently there was an online feature in the travel section of the New York Times on the Hollywood Road district of Hong Kong which is developing into an interesting area for the arts. Readers left comments adding to the recommendations included in the piece. If you recommend a gallery in the area and if it was not already widely-written about in high authority sites (rare!) it is likely that your comment would appear on the first page of Google’s results for that gallery name. If that gallery name was yours you would be very pleased:  not only would you draw New York Times visitors, you would also have boosted your google ranking in three ways all in one go (attracting more visitors to your site, creating a high authority inbound link to your site and taking up another slot on Google’s first page for your gallery name).

Of course it is important that your comments are not blatantly self-serving; often administrators are employed to screen out pure promotion. However as long as your comment adds value to the article with extra information or by generating discussion, you will find that publishers love comments and are only too pleased to receive your input.

 

If you are interested in reading more tips on art business management and the use of the internet for art promotion, please rate this article and/or leave a comment below.

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