"Our appreciation of a resume is largely made up of recognizing accomplishments [in the form of events, exhibitions and curating] that we did not attend," writes Troemel in his essay, "The Emergence of Dual Sites," for the popular tumblr, The Jogging (which he co-authors). "Facebook invitations to Dual Sites' shows are a telling part of their existence. Most of those invited to attend are not actually asked to visit, but to recognize the existence of an event—to believe it took place, and in doing so, value the exemplified support for the artists shown."
This validation structure is significantly different from that of a gallery in which owners work to place art in important museums and collections as a means of increasing its value. In the case of Dual Sites, value is largely assigned by social capital garnered within the internet-art community, though the degree to which this occurs differs from place to place.
Curating as a means of showcasing taste and knowledge are key to this, which is why tumblr blogs often host images of work they like, as opposed to simply work they will be exhibiting.
As would be expected, the phenomenon is not profit driven. "Extra Extra is a labor of love" the Philadelphia-based artist and gallery co-owner Derek Frech told me, "because you know we are all working day jobs to support ourselves and the gallery." The outfit is run by four twenty-somethings from Baltimore: Frech, Joseph Lacina, Bob Myaing and Daniel Wallace, all of whom are currently working together to find non-profit funding for the space.
Grant writing is never easy, but there are always a few extra challenges for those creating projects in which permanence is not a concern. "I think that the key thing with the way we run the gallery is that we don't have any long-term plans," Frech told me. "We want to remain as flexible as possible so that we can adapt if need be... and show relevant work that other people aren't really trying to show." The most recent example of this was their launch of Brad Troemel's tumblr exhibition, in which he asked them to print out and hang images of their choice from his blog. "His show was about the loss of the control of the artistic identity on the internet... you know, like anyone being able to take your images and reblog them on the internet anywhere they want with or without credit."
Extra Extra's tumblr has far more visitors than its gallery, which is common but by no means the rule. Andrew Laumann, who runs Baltimore's respected Penthouse, provides a notable point of departure. An early presence on the online DIY gallery scene, Laumann lives in a space he also uses for music performances and art shows. His tumblr was founded in July 2009, but like his sporadically planned shows, it is unpredictably updated. According to Laumann, one of the reasons his programming includes so much live performance is the development of the music scene in Baltimore relative to that of art. "I pair art with music out of necessity... waiting for a blue chip gallery to come to Baltimore didn't make sense," he said.
Jericho Ditch, a shack located in the middle of a swamp, likely took to the online community for similar reasons, while Reference Gallery in Richmond Virginia notes their connection with the city's community is not deep compared to the net. "I'm pretty sure as far as the Richmond art scene or whatever, they are not that concerned with us," James Shaeffer, the curator of a four-person founding team at Reference, told me.
Like many of these galleries, the founders are all straight white men. Exceptions exist—Nuda Shank is run by a man and woman, TenTwoTen is an all-women site based in Berlin, and six people, two of whom are ladies, run Appendix. Perhaps though, they will see more exposure in Brad Troemel and James Shaeffer's latest Dual Site art fair, tentatively slated to occur sometime next year in a still to be determined remote location. Like Extra Extra, the two are in the process of writing grants. "It's been a rough learning curb," Shaeffer admitted, "but having an internet presence bigger than everything else has really opened up a lot of doors and new ideas. I think that that's going to be influencing the way we curate and handle art in the future."