Or: How digital self-promotion is challenging the traditional art market. Art between likes and canvas.
The visual arts have always been a reflection of their time. But never before has access to both art production and marketing been as open and easy as it is today. While artists once depended on the favor of the church, nobility, and wealthy patrons, today almost anyone can present their work to the public with just a few clicks – naturally, not without far-reaching consequences for the traditional art market.
In the Middle Ages and the Renaissance, art was primarily commissioned work: painters, sculptors, and artisans worked in the service of the Church or the nobility. Their task was to create religious motifs, portraits, or scenes from the lives of their patrons or other powerful figures. Artists at that time did not see themselves as autonomous creators, but rather as—sometimes exceptional—craftsmen whose work always served a higher purpose: the communication of faith or the representation of power.
With the Enlightenment and later in the Romantic era, this image changed. Artists began to express their own view of the world. The concept of 'genius' emerged, and art increasingly became an expression of individual freedom. However, even now most artists remained financially dependent; now, though, on galleries, collectors, and public institutions.
The 21st century has fundamentally changed the art market. Materials and tools are more affordable and readily available than ever before. A pre-stretched and primed canvas, a handful of paints, and perhaps a bit of courage, enthusiasm, and inspiration, or even a watercolor course after retirement—and anyone can consider themselves an artist. While this low-threshold access to artistic production has fostered creativity, it has also led to a certain inflation of the concept of art. The professional titles "artist" and "gallerist" are still not legally protected and can be used at will.
With social media platforms like Facebook, Instagram, TikTok, and Pinterest, art marketing has entered a new era. Everyone can present their work directly and immediately to a global audience without relying on galleries. This creates opportunities, especially for young talents who would previously have had little visibility. At the same time, this development is changing the relationship between art and the market. The new currencies are reach, likes, and followers. Attention on social media is increasingly replacing the traditional curatorial selection that galleries once provided.
The COVID-19 pandemic has, of course, fueled this development. While galleries and exhibitions were forced to close, interest in art shifted to the digital realm. Many buyers became accustomed not only to discovering and purchasing art online, but often directly from the artists. This likely felt great for many and strengthened their sense of independence, but it weakened the role of traditional intermediaries like galleries, which not only sell art but also curate, advise, and ensure quality.
This results in profound structural changes for professional galleries and art dealers. Firstly, they lose direct access to buyers and collectors. Many art enthusiasts prefer to orient themselves towards social media rather than curated exhibitions, which undermines the gallery's function as discoverer and mediator of quality. Secondly, their economic foundation is weakened. Online and/or direct sales by artists mean that galleries are increasingly less involved in first-time sales – the very area that previously accounted for a large portion of their revenue. This revenue covered exhibition spaces, salaries, catalogs, and exhibition openings or art fairs. Added to this is increasing cost and competitive pressure: professional communication, fair appearances, and (digital) visibility require investments that are often barely sustainable for many galleries.
Consumer behavior has also changed. On the one hand, some generations are influenced by slogans like "cheap is chic," while on the other hand, many want to buy quickly and immediately, without advice. It's striking that many buyers treat art differently than other everyday purchases. When a new washing machine is needed, consumers often spend hours comparing models, reading reviews, and checking efficiency ratings. When buying art, however, people often rely on first impressions or gut feelings. Rarely is anyone questioned about who the artist actually is, whether they have a solid education, whether their work is thoughtful, or whether the pieces will retain their value in the long term. While this emotional, spontaneous approach can be appealing, it often leads to quality, context, and sustainability being neglected in art purchases. This is precisely where art historians and art scholars in professional galleries can offer guidance through their expertise—if they are given the opportunity. Only in this way can cultural capital be preserved: with the ability to classify and evaluate art and to secure its future beyond mere trends. Every sale from the studio, whether online or in person, directly weakens a gallery.
Self-promotion grants artists greater freedom, but also carries risks: without critical oversight, art can quickly become arbitrary, and the market loses its bearings. The art world will have to find a new balance in the future, navigating between likes and canvases, algorithms and exhibitions. The challenge lies in reconciling freedom with quality.