On February 13, Artsy’s chief technology officer warned account holders of a “data security incident.”
Writer and editor James Trainor’s recent essay in Artsy about the Hudson Valley art scene — obnoxiously titled “The Hinterlands: Can artists and dealers change the creative and economic landscape of Upstate New York?” — reads like a call to artist-saviors to move up the Hudson in order to colonize the virgin, green Hinterlands in the name of high culture.
One of the ongoing narratives of the art world as of late is the fight over art’s presence on the internet — which company will be the first to make systematized online art sales mainstream? The field of contenders, which has ranged from 20×200 to Paddle8, Artspace, Artsy, VIP Art, and even Fab.com, is narrowing.
As Artsy has gained in momentum (if not revenue) in the past year, it’s become apparent that what the platform is best at is not necessarily tracing the genealogy of artworks but simply reproducing exhibitions well in an online format, with high-res images and an attractive interface. That argument is further backed up by Artsy’s presentation of The Armory Show fair.
Carter Cleveland of art startup Artsy claimed at an event last night that, “For every household that buys fine art in US, there are 37 households with the same average income that don’t.” So I asked him to elaborate.