Digital Art Fairs and Online Adaptation
© Veda Lane
Contemplating the "Covid-verse," online experiences, and the importance of looking while attending the live webcast hosted by the Financial Times Weekend and Frieze New York on how different art market players, galleries and fairs in particular, are adapting to online-only strategies.
A conversation between Columnist and Contributor for the Financial Times Melanie Gerlis, Director of Frieze New York Loring Randolph, and Garth Greenan, founder of Garth Greenan Gallery.
The conversation began divided as we all seem to be right now. The attendees of the live web discussion on May 5 were unsure of their outlook considering online-only fairs and online experiences. While 57% expressed a positive outlook, 43% were still playing on the negative field. I answered in the positive.
Melanie Gerlis initiated the conference with the newfound quotidian question facing all art market representatives: How has the experience been during the "pivot" to online formatting? More pressing, what have the challenges been?
While immediately the conversation turned to that of institutions and galleries facing the cessation of burgeoning projects sometimes years in the making, both Randolph and Greenan (to my surprise) emphasised the challenges imparted by Covid as broadening their thought process, honing strategies, and democratising the art market. As both fair director and gallerist realised the impending impossibility of Frieze New York as a physical event, they swiftly redirected online.
Randolph commented that since Frieze New York was already brewing an online model for the art fair, there was opportunity to take the developing platform and use this time to implement it, providing at-risk stakeholders a place to show what they would have otherwise physically shown. Greenan was grateful for the opportunity to still display work and expressed his gratitude for Frieze New York pursuing the online experience rather than dropping the 2020 rendition of the fair.
“There are so few things to look forward to and to have this, we just have to do it. This opportunity is really important. To have the plug pulled, the fair not happen, we came to terms with that. To be able to pivot is really great.”
The conversation turned to managing expectations and changing methodologies. Naturally one of the larger challenges adapting to an online experience is rebuilding what was a strong ecosystem of galleries, institutions, artists, and collectors who were stitched together by a love for art. Randolph stated that Frieze New York is doing everything it can to continue to provide the best experience. From thematically organising the online rendition to closely mimic that of the physical event to requiring high quality photos and suggesting galleries post prices and contact information, Frieze has taken steps to ensure the experience eliminates barriers for collectors and allows a smoother experience for dealers.
The transition has also revealed new insights. Hopscotching artworks to an international audience is costly and environmentally detrimental. Galleries also face the challenge of anticipating booth layout. What will go on the walls? What will be in storage? What will never leave the crate? Not every work at a given fair is afforded exposure, which is where the online platform thrives. Gerlis mentioned galleries being able to show larger works which would have been impossible for a physical fair due to space limitation. Greenan, who's booth presentation typically favours the minimal, praised the platform as he was able to "bring" more work. This year the gallery will be able to offer a more creatively curated experience showcasing two photographic variations of performance artist James Luna. Had the fair happened in person, this wouldn't have been possible.
“This is just going to get plugged in to enhance our experience moving forward.”
Along with talk of fairs being a relic of the past (Greenan suggested the over-saturation of the New York fair market), the notion of art becoming a solely online experience has circulated - as has the dread of the concept. However, nothing in the conference signified a desire to replace the physical experience of art. The love for art is ubiquitous in this field and a virus won't keep us from fairs or museums, but Greenan signified that movement online has been a natural step. Artworks are already continuously sold via text or PDF. He further stated that no one should be shamed for being able to enjoy art from the comfort of their home. That shaming will keep us in the past.
Both Randolph and Greenan also agreed that online exhibitions, viewing rooms and fairs simply act to augment user experience and democratise the accessibility to art. Greenan put it quite succinctly that of course online isn't the best experience, but the goal is to facilitate the best possible experience. Additionally in this time of global crisis, the online format allows and will continue to provide collectors and enthusiasts an outlet to safely enjoy culture, especially if the current state of health insecurity continues.
When asked about the future of art fairs in the next thirty years, Randolph let out a laugh:
“We’re all going to be avatars of ourselves! I read a lot of science fiction novels as a kid. When you say imagine it I think, ‘there’s going be an art fair on the moon!’”
I love her unwavering optimism and readiness for innovation. The art market is notably behind compared to other industries, but has prodigious potential to bring communities together and allow us the presence we crave in absence of contact. By the end of the conference, 81% of attendees endorsed the promise of creative online experiences.
It's a mindset unbound by the physical which we will find is tantamount to the future of the art market.
Thinking about how Frieze New York has adapted, I gathered some pointers from Randolph and Greenan on the anatomy of a successful online platform for experiencing art:
Familiarity – We all want the experience to be as close as possible to what we're used to. Frieze New York has adapted their online platform to closely resemble that of the original fair including original thematic divisions.
Organisation – Without spatial context, organisation is a key feature for a successful viewing platform. Within that is the benefit of compartmentalisation and drilling down. On the Frieze New York online platform participants will be able to search artworks by medium or even price, eliminating the barrier of individually parsing through every booth.
Quality – Ensuring a quality user experience and high resolution images communicates best and shows off the artworks that artists have put months into for these fairs.
Accessibility – Make numbers and prices available. For this rendition of Frieze, galleries have been encouraged to post contact information and further, Frieze will have implemented the all-important "inquire" button. Start the conversation by being open.
Positivity – Don't fight the current. As Randolph openly reflected at the beginning of the conference, there of course exist bugs and errors that need to be ironed out. It comes naturally with the adjustment online and it's so important to remain positive and excited about the coming opportunities.
Registration for Frieze New York, the inaugural online edition, is currently open:
May 8-15 with a Preview May 6-7, more than 200 galleries will present major works by established and emerging artists in a virtual gallery space as part of the Frieze New York edition.
Thank you.
Veda Lane,
Contributor, MADE IN BED