Tabish Khan panel discussion at CDG
Posted on November 8, 2013
This week Curious Duke Gallery's collaboration with Antlers Gallery- Kindred brought us a panel discussion lead by Londonist art critic Tabish Khan . CDG's Eleni Duke, Antlers Jack Gibbon, and their artists Kate Knight and Tim Lane, respectively were asked about online versus offline art market. Here is what they had to say.
First up, Tabish throws out the question of the how the online art market has affected the art market as a whole. Regarding the art industry as traditionalist, using the example of posting press releases rather than using email (save the trees, please!), the prevalence of online social networking through sites such as Pinterest, Twitter and Facebook have drastically begun a move away from this, with more artists being able to gain a foothold in the industry through self promotion.
Kate Knight: Facebook forms the main core for promotion of art work, I use watercolour which I feel more able to show online, than say oil paints that have to be seen in the flesh as they don't carry so well online. Twitter, Tumblr, Pinterest can be and feel a bit too much at times, for how many times there are benefit from the online art market, it can be seen as a slight distraction from what should be the main event- the artwork itself. That said, if you're aren't living in London, social media can be the key to keeping in with the art world.
Tim Lane: I don't really use social media, only occasionally and minimally to introduce new art works.
Jack Gibbon: For our nomadic gallery, operating as a pop-up, we rely heavily on people following the gallery's progress and our current location. on how an online presence has aided his gallery as a nomadic gallery.
Eleni Duke: (Curious Duke Gallery began life as the online company Premiere Art, later becoming Curious Duke Gallery as a pop up, and then a permanent space and company name).
Online is a good place to introduce work and allowing people to browse, but the price range has to be quite low, high priced works tend not to sell online, there is a bigger risk, and the internet tends to be a low risk area. Some art works just do not translate online, our artist Ben Gooding hand scores aluminium in minute detail that must be seen in reality.
Jack Gibbon: Similarly some things look more richly coloured on screen than they are when viewed in the gallery. Also, when you get a good match of an image to the artwork, sending out a catalogue electronically can create sales, nationally and internationally.
Tabish: To the artists, have you ever been accepted into an exhibition purely on sending images through email?
Kate: Yes, it was a runner up in the Marmite Art Prize purely through online application. And similarly with Saatchi Online.
Tabish: To the gallerists, have you accepted anyone purely from online application?
Eleni: Yes, all the time. Only on a few rare occasions has the artwork been drastically different from its jpeg.
Tabish: Now to the elephant in the room, Amazon Art. Many people are against this commodifying of the art world, however many say that is was the obvious next step. With the growth of fairs like the Affordable Art Fair, sales are very important. However unique an artwork, it is still a product.
Eleni: Amazon art and Artfinder, I joined Artfinder and listed artworks there for the experience. In two years of business I have never had an art work returned, I take the time to talk to the customer about the artwork, the artist, the process, how they can hang it in their home- we personalise our service. But with Artfinder I had my first return. The process of buying through these art supermarket sites gives you minimal detail, with small images, it doesn't have personality.
Tim: I think we probably all feel the same about it. As an artist I believe in what I do, I believe in the artwork and want to keep it as something significant.
Kate: An art work has a soul, it has personality. And I don't think people are going to go on Amazon Art and say “I like that, I'm going to buy it.”
Jack: But the good thing about portfolio sites is that they're profile raising.
Eleni: I agree, but having started a business, trying to compete with these companies on search engines is really difficult. Art is a magical experience and the process of buying it should reflect that.
Tabish: But if I saw Kate's work on the Curious Duke website, and I was living in America I wouldn't fly to view it. We can all agree, the online market has its merits. Now, Kate and Tim, it raises your profile so it's good for you in a market of thousands of artists. It pays the bills.
Kate: Of course, and the online art market predominantly being made up of prints is your bread and butter. Reproductions are a risk, but depending on it's intended use: so somebody had one of my pieces tattooed onto themselves and I saw it as a compliment.
Tabish: Do you think the importance of viewing an artwork is in the possible emotional connection?
Jack: This was part of the decision making for us, when we considered being an Affordable Art Fair gallery, which we now are. Primark and Asos both have things to offer.
Kate: But art is a completely different market.
Jack: But what you can say is, that a curated space, which shops do, is about viewing.
Tabish: In reality in the art world there is very little money unless you are with the top price range. Have you ever had to sacrifice your creative vision for this?
Kate: No I wouldn't, I'm fortunate that my work sells enough that I can keep going.
Tabish: And most artists do have a day job.
Jack: But making generic art can be a day job.
Tabish: But don't sacrifice your creativity. But the bias my be less personal.
Jack: I thought you meant if somebody had landed on a formula. To progress, an artist has to make the work they want to, to prevent stagnation.
And there concludes the panel discussion. Many reasons for and against online art markets, and just how they affect those involved.
Next weeks blog: The resulting Q&A session.