yes, we want our website to be honest. This desire for honesty, for example, was behind our approach to the artist page. I was going to mention the artist page. It’s quite distinctive. For example, for every artist, you have a big author photograph. The artist page is really important to our overall approach to the site. We want the site to function as part of the network of our artists, and in some way our context. After all, we have artists who live all over the world. It’s very hard to create a community when they are all so far apart. We have artists in Germany, Korea, Brazil, a couple in Japan, a few in England, a few in New York, a few throughout the United States. It’s just hard to keep it all together as a family this way! The website is a really good way of establishing a real context and community. Can you give me more of a sense of how you see this happening? Number one, we made a decision that we were going to keep our website really up to date. We have someone who works on it almost full-time. So we are always in communication with the artists, finding out what they’re thinking, what they’re up to, et cetera. We also decided really early on to use photographs of the artists. I have to say, it was my idea. It’s an attempt to try to establish and maintain a kind of intimacy with the artists—and between the artists. We regularly change the pictures, at least once a year, or something like that. It sets the tone we want: high-tech intimacy. I’m just looking at the site now, and I see Tony Oursler has a new portrait up—I haven’t seen it before. He probably contacted us and wanted us to change his picture. He’s done that several times. On the other hand, we haven’t changed Ross Bleckner’s picture since 56
The Art World and the World Wide Web. Essays, Interviews and Case Studies.