With the near to complete shutdown of physical events in 2020, artists as well as the rest of the art world have been flocking to the internet in order to exhibit and sell work. The art world, traditionally slow to adopt tech, has been at an extreme disadvantage. How to stand out online? The need to 'hack the algorithm' seems like the only way to break through the proverbial noise in this very congested space.

In this discussion we will explore how art is discoverable on the internet, search engine optimisation, the role of collectors and museums in the algorithm based experience, who owns this space and who is just playing a part in it.


Gretchen Andrew

A search engine and internet imperialist artist. Her practice is described by critic Jonathan Griffin in LALA Magazine as alluding to “the Wild West possibilities of the Internet and to the scale of her artistic ambition.” She trained in London with the artist Billy Childish from 2012-2017. In 2018 the V&A Museum released her book Search Engine Art. Starting in 2019 she became known for her vision boards and associated performative internet manipulations of art world institutions of Frieze Los Angeles, The Whitney Biennial, The Turner Prize, and The Cover of Artforum.

Alex Estorick

Contributing Editor for Art and Technology at Flash Art, overseeing the magazine's new column, 'The Uncanny Valley', on the relationship between AI and contemporary art. He is a frequent contributor to Frieze Magazine, where he is also proofreader and copy-editor. After studying at Cambridge he taught Art History for many years across both state and private education. He is also a trustee of the Estorick Collection of Modern Italian Art. Based in North London, the museum is known internationally for its core collection of Futurist paintings.

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