The Art World and the World Wide Web

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that’s high-res enough to give you an image that’s that big. Plus, to scaffold that would be impossible. I thought, “Okay…” and I figured out that if we shot it in small segments, and then stitched those together in Photoshop, that might work. So I tested out the idea of how I could brace the camera properly, right? And what we ended up doing was just shooting with a Canon EOS 5D, because we can do a live view from the camera itself, and line it up according to a grid. So we gridded out the whole room, both ways (x and y) but only at the edges of the wall, just a mark. Then we’d stretch a piece of blue tape across, between the two marks. And we’d run the tripod down every two feet incrementally, all the way to the end. And we’d line it up for that vertical line, and you could always adjust the camera using its live view function. It took us 185 shots. You’ve done a lot of work with galleries and, of course, museums and artists. Any words of wisdom to pass on to galleries especially? They have to be more conscious of the fact that their exhibition history is the most valuable thing they have. And very few of them allow the viewer to really explore that in a significant way. Galleries spend a lot of time, energy and money putting on exhibitions and after thirty days they’re gone. So galleries depend on their websites to archive their exhibitions. And the historical aspect of keeping these exhibitions alive on the Web, it’s priceless. The past is the future, see what I’m saying? How you preserve it and present it on the Web is critical to a gallery. And mostly what we’re seeing are photographs—still images— that just don’t do justice to the exhibition. If all you’ve got is bad photography, what can you do with it when the exhibition has ended? So I always advise galleries to budget so they have 106
the resources to properly document an exhibition. Get the high quality still images you need. Animate it, create something that’s more dynamic, so that when people go and visit this stuff, they’re looking at it as if it’s something that’s happening now. View more at www.tompowelimaging.com 107
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THE ART WORLD AND THE WORLD WIDE WE
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the Art World and the World Wide We
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CONTENTS 7 Introduction 11 The Art
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Our text on Mobile Responsive Desig
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The Art World and the World Wide We
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the gallery’s website. Design and
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as easy as possible. Some galleries
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4Start Prepare images 1 hour ‘ Ad
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who is designing art gallery websit
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2008 2010 2011 2014 Death of Flash
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www.davidrisleygallery.com
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obust website on a leaner budget, v
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Top Tools for Gallery Websites Webs
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top trends Continuous scrolling all
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showing art. The back space is the
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Surprisingly, these social-network
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36
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get answers at a speed I could only
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www.lauriesimmons.net
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Do you think of your site as a work
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the ones they’re working with in
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Google for Galleries Search Engine
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Searching by Artist Name Where does
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Use Paid Advertising: Target your a
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yes, we want our website to be hone
Page 58 and 59: years ago. And art fairs are so int
Page 60 and 61: It really depends on the work. With
Page 62 and 63: www.twopalms.us on the iPad
Page 64 and 65: www.faggionato.com on the iPhone
Page 66 and 67: MULTI-DEVICE WORLD A website needs
Page 68 and 69: touch interface and the ability to
Page 70 and 71: design has the ability to adjust ac
Page 72 and 73: In essence, a phone app, which invo
Page 75 and 76: Howard Shaw As Hammer Galleries’
Page 77 and 78: This is an interesting question tha
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Page 81 and 82: websites had a certain look, often
Page 83 and 84: we developed, prior to working with
Page 85 and 86: www.hammergalleries.com on the iPho
Page 87 and 88: that are back in the gallery, we ca
Page 89 and 90: that sometimes a client will insist
Page 91: Hammer Galleries rose to prominence
Page 94 and 95: of our favorite options for video u
Page 96 and 97: In an incredibly short amount of ti
Page 98: from scripting and shooting to post
Page 102 and 103: me understand what I really wanted
Page 104 and 105: Above: Two sample spreads from Reme
Page 106 and 107: Did you start to think of photograp
Page 110 and 111: Fair Art A Story by A.M. Homes Cind
Page 112 and 113: “Who is that bald man in the whee
Page 114 and 115: “When I go to someone’s house
Page 116 and 117: “Speaking of animal behavior—ar
Page 119 and 120: Web-Based Gallery Management While
Page 121 and 122: accessed entirely through a Web bro
Page 123: When done right, Web-based gallery
Page 126 and 127: that was easier to use, something t
Page 128 and 129: it a step further in terms of ease
Page 130 and 131: New galleryManager iPad app
Page 132 and 133: Knowing how the galleryManager soft
Page 134 and 135: ight in from your iPad or computer
Page 136 and 137: have to stay in sync with how the g
Page 139 and 140: four Case Studies 137
Page 141 and 142: Our design for the recently launche
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Page 145 and 146: as you are scrolling through the si
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Page 149 and 150: Included on the page as you scroll
Page 151 and 152: top trends With the flood of web fo
Page 153 and 154: the website reflects that. Rich in
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Page 157 and 158: website page. The artist is free to
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Like all exhibit-E websites, the si
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They wanted a state-of-the-art webs
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Matthew Marks; there are links here
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Artworks are organized by period. T
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This ability to drill down to anoth
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www.jamescohan.com
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www.mnuchingallery.com
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www.faggionato.com
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www.andrearosengallery.com
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www.paulkasmingallery.com
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www.twopalms.us
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www.bronxmuseum.org
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www.miandn.com
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www.101exhibit.com
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www.kerlin.ie
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www.mapplethorpe.org
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www.taymourgrahne.com
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www.danzigergallery.com
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www.rayjohnsonestate.com
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www.moellerfineart.com
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www.skny.com
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Glossary Adaptive Design Adapts con
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DNS (Domain Name Service or Domain
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Keywords Words that are used to sum
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Screen Resolution The width and hei
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Michael Gwertzman is a freelance wr
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