Even Google has lent its name in the form of ex-CEO Eric Schmidt, an angel investor.Which makes sense, considering Art.sy’s ambitions as a search engine for contemporary art.As Google’s engineers created a window onto the universe of networked information, with a concomitantly hyperconnected weltanschauung, claims to be building a new way to experience art and its own internally networked connections.To “experience” art, in all its contemporary senses: If looking-at (the museum experience) has been collapsed into purchasing (the gallery), purports to overlay these experiences with those of the link and the suggestion.Spotify offers an extensive searchable online music database linked to social-networking media, in contrast to Pandora’s feedback-driven, automated “stations” playing licensed content (the difference between making a playlist on demand and listening to a specific radio show).
This insistence on top-down pedagogy, however, may also be part of a long-term business strategy in which continues to be profitable in the absence of a workable consignment-sales model, through possible funding from foundations or revenue derived from subscriptions sold to schools.
Its aims are therefore double, as are its target audiences.
On the one hand, proposes itself as an educational tool to help art-world outsiders navigate the esoteric world of contemporary art by linking new work to canonical predecessors; to display the range of connections between movements, artists, and individual pieces in an easily apprehensible manner, providing a tailored gallery experience even to users priced out of the art market, geographically distant from museums and galleries, or socially barred (teen taggers Art.sying Basquiat discover Dubuffet).
revisits models that tried, to no enduring success, to create online art markets during the first dot-com boom of the 1990s, with the hope that changing conditions of consumption (for both art and other luxury goods) will render these models more viable: Younger consumers inured to Internet purchasing no longer view large online expenditures with suspicion.
And while the models at issue here initially arose during an economic boom, is redeploying them in a recession.
Making these images network in the way that the artists networked in the Market Street Program, merges murky formal affinities and social linkages into a single code.