Adopting a Logo.

When it comes to the internet, particularly the web, the relationship between Art, especially Visual Arts, and its digital presence is complex. On one hand, the web offers unparalleled reach, allowing artists to showcase their work to a global audience. However, this relationship often feels one-sided, as visual art is inherently about being seen. Yet, behind this "being shown" aspect, there are significant differences in motivation. This brings us to the enduring debate of the "web as entertainment" versus the "web of sharing," while the "web of selling" is usually overlooked. In this context, I want to focus on the idea of the "web of sharing," as envisioned by the web’s "founding fathers." A fundamental principle is that the "audience" creates the Internet. This is evident and easy to appreciate. However, it's not always clear that visitors make the first move, and their effort should be reciprocated. In the art world, there seems to be a reluctance to embrace this model. Some might argue that simply sharing images is sufficient, akin to a glimpse of a woman's ankles in a more conservative era. It’s no coincidence that many contemporary artists either avoid the internet or display images so small that even a stamp collector wouldn’t find them appealing. This resistance could be due to how new technologies are adopted and evolve over time. Yet, the art world still clings to the traditional gallery model, where Art is displayed as a commodity, an object of desire. The flaw in this model lies in the composition of the web audience. If we examine the most frequented sites, we find that interactive platforms have dominated over the past decade. Instead of passive viewers, we encounter individuals who express feelings and experiences by reusing and sharing what they’ve seen. This is akin to a post-structuralist "ready-made" practice, continuously evolving in a recursive, expressive manner. I recognize that this perspective may seem naive, especially in times of scarcity when survival takes precedence. With this background, I come to my main point. I have been searching for a logo for my photography business for some time. Due to high costs, I was considering creating one in-house. Recently, however, I discovered a wonderful initiative called TOBERND/YOURHILLA by artist Didier Falzone, who offers abstractions inspired by the works of Bernd and Hilla Becher as usable logos. I was captivated not only by the logos themselves but also by the generosity behind this initiative. A logo doesn’t need to explicitly explain or describe in a literal way; it should be an object of interest. After exchanging a few pleasant emails, I was able to obtain my own logo. There are many emotional and practical reasons behind my choice, but I believe the artist deserves considerable appreciation for both the content (the logo) and the action. I owe thanks to Hippolyte Bayard for bringing this initiative to my attention.