Or: How digital self-marketing challenges the traditional art market. Art between likes and canvas.
Visual art has always been a mirror of its time. But never before has access to both art production and art marketing been as open and easy as it is today. While artists used to depend on the favor of the church, nobility, and wealthy patrons, today almost anyone can present their own works to the public with just a few clicks – not without far-reaching consequences for the traditional art market, of course.
In the Middle Ages and Renaissance, art was primarily commissioned work: painters, sculptors, and artisans worked in the service of the church or 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 as—sometimes outstanding—craftsmen whose work always served a higher purpose: conveying faith or representing power.
With the Enlightenment and later in Romanticism, this perception changed. Artists began to show their own view of the world. The concept of the 'genius' emerged, and art increasingly became an expression of individual freedom. Yet, even then, most artists remained financially dependent; now, however, 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 some courage, desire, and mood, or a watercolor course after retirement – and suddenly, anyone can consider themselves an artist. This low-threshold access to art production has indeed fostered creativity, but it has also led to a certain inflation of the concept of art. The job titles 'artist' and 'gallerist' are still not protected professional titles and can be used at will.
With social media platforms like Facebook, Instagram, TikTok, or Pinterest, art marketing has entered a new era. Everyone can present their works directly and immediately to a global audience, without relying on galleries. This creates opportunities, especially for young talents who previously would have gained little visibility. At the same time, this development changes the relationship between art and the market. The new currencies are reach, likes, and followers. The attention on social media is increasingly replacing the traditional curatorial selection that galleries once provided.
The Corona pandemic naturally fueled this development. While galleries and exhibitions had to close, interest in art shifted to the digital realm. Many buyers grew accustomed to not only discovering and purchasing art online; often directly from the artists. For many, this probably felt great and strengthened a sense of independence, but it weakened the role of traditional intermediaries like galleries, who not only sell but also curate, advise, and ensure quality.
For professional galleries and art dealers, this results in profound structural changes. Firstly, direct access to buyers and collectors is diminishing. Many art enthusiasts prefer to orient themselves by social media rather than curated exhibitions, which undermines the gallery's function as a discoverer and mediator of quality. Secondly, their economic base is weakened. Online and/or direct sales by artists mean that galleries are less and less involved in first sales: the area that previously accounted for a large part of their income. Income used to pay for exhibition spaces, wages, catalogs, and vernissages or fairs. In addition, there is increasing cost and competitive pressure: professional communication, fair appearances, and (digital) visibility require investments that are often barely sustainable for many galleries.
The purchasing behavior of the public has also changed. On the one hand, some generations are shaped by slogans like 'cheap is cool,' and on the other hand, many want to buy quickly and immediately, without advice. It is striking that many buyers treat art differently from 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, one often relies on the first impression or 'gut feeling.' Rarely is it questioned who the artist actually is, whether he or she has a solid education, works reflectively, or whether the works can remain stable in value in the long term. This emotional, spontaneous approach can indeed have its charm, but it often means that quality, context, and sustainability are neglected in art purchases. Precisely here, art historians and art scholars in professional galleries can offer orientation through their expertise – if allowed. This is the only way to preserve cultural capital: with the ability to classify art, evaluate it, and secure its existence beyond trends. Every sale directly from the studio, whether online or in person, directly weakens a gallery.
Self-marketing offers artists greater freedom but also carries risks: without critical instances, art can quickly become arbitrary, and the market loses its orientation. Between likes and canvases, between algorithms and exhibitions, the art world will have to rebalance itself in the future. The challenge is to combine freedom and quality.