Thesis Research

Source: Internet Art

pg. 80-81: “On the positive side, web-based expositions were extremely cheap to produce, as long as one had access to programming resources and server space.”

“With little but a thematic presense and server space to host files, or even more minimally, with a web page programmed to link to other net art projects, one could build and host shows easily, assuming the role of curator and exhibition-space proprietor within a matter of hours. A key innovation was the reduced amount of time needed to mount and unmount an exhibition, with projects able to be linked to major art centres or other nodes in seconds. This made it possible for curators as well as consumers to view artwork without being restricted by geographical distance or gallery hours, while exhibition spaces could be mobile and collapsible. This historical shift realized the fixity of the gallery compared to the fluidity of art cycling through it—exhibition venues could now be as flexible as web sites. While in theory this development has the potential to affect the relationships between cities and the galleries that inhabit them, so far the impact on offline art spaces has been limited.”