During the summer of 2019, I took a different approach, one that was inspired by Japanese photographer Daidō Moriyama. I realized that I had accumulated several hundred images of Chicago’s elevated and subway system, which is referred to as the “L.” Prior to 2019, those images had been made from the street and on station platforms. Over the Christmas weekend, I was reviewing my portfolio, as I often do. A Community Attempts to Heal Itself A Car Drives Past a Burned-Out Camera Store I loved the results, and so did everyone I shared them with, particularly my friend and fellow photographer Gary, who offered copious amounts of encouragement and then immediately signed up for a Kunstmatrix account to display his work. Having just learned about Kunstmatrix, I decided to give it a try. I was pleased with the prints, but I wanted to do more with the images. Over that three-week period, I spent time not only sequencing images, but also reading about Kenosha’s history, demographics, culture, and business environment. Doing that gave me ideas for additional images to seek out during subsequent trips. As the project progressed, I made 140 prints (8.5 by 11 inches) from the hundreds of images I had captured. I made four more trips to Kenosha over the next three weeks, focusing more on the community than on the damage. Not great artwork, but there certainly were positive vibrations. An arts group had organized a Friday effort to paint flowers, faces, and upbeat slogans over the plywood covering virtually every store and office window in an eight-square block area. As I walked around the downtown area, I saw a community visibly attempting to heal itself, something that I had not anticipated. As planned, I photographed the burned-out buildings and the coterie of the remaining demonstrators. During the last four years, I had photographed countless Trump-inspired and BLM demonstrations, so on August 28, 2020, just five days after the police shooting of Jacob Blake, I headed to Kenosha, Wisconsin. By mid-June of last year, I had expanded my post-lockdown photographic efforts beyond my Chicago neighborhood to locations in northern Illinois and Wisconsin. As is true of all software, there is room for continual improvement. Its web-based solution for presenting artwork Surprises and Delights both photographers and their audiences.ĭespite my love of this technology, I will be candid as I describe it, pointing out existing deficiencies when appropriate. Whether they know it or not, the Kunstmatrix team has adopted that maxim as its guide star. Although Neiman Marcus has now fallen on hard times, that catchphrase extends far beyond retailers. When I took a marketing course 25 years ago in the Northwestern University’s Executive MBA program, the professor singled out Neiman Marcus’ Surprise and Delight catchphrase as an excellent brand-positioning maxim. The Bottom Lineīefore proceeding any further, I believe an overall assessment is warranted. As of November 2000, the company’s product has been used to create 6,000 public exhibitions in 130 countries.
In 2017, Kunstmatrix shifted its focus to the international art market, particularly the United States market. The European art market was initially receptive to the technology but was slow in digitizing visual artworks.
It claims to be the first company to have offered self-curated exhibitions (2009), an augmented reality app for previewing art in a buyer’s home, office, or other space (2012), and a virtual art fair (2014). Kristian Hildebrand to the team one year later. In 2007, two German computer scientists, Christoph Lauterbach and Hartwig Bentele, began collaborating on 3d-modeling applications. I will (i) describe the three projects I have chosen for Kunstmatrix virtual exhibits (ii) provide links to those exhibits, so you can judge whether virtual exhibits are for you (iii) cover basic considerations, including pricing, mechanics, documentation, deficiencies, and publishing exhibits and (iv) offer some tips and tricks for creating a Kunstmatrix exhibit.
Then I will undertake a four-part analysis to outline how and why I have created virtual exhibits using the platform. I will begin with the preliminaries, providing a brief history of Kunstmatrix and an overall assessment of its platform. In this article, I will recount my experience to date. I took one look at the exhibit, and said, “Get me the name of whoever developed that platform.” It was Kunstmatrix GbR, a German company. CPP had found an alternative: an online exhibitin a virtual gallery. About four months ago, my wife Evelyn yelled across our shared office space, “Take a look at this.” Each year the Chicago Pastel Painters(CPP) stages an exhibit featuring its members’ work, but due to Covid-19, there would be no 2020 exhibit in a traditional gallery space.
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