Introduction
The COVID-19 pandemic represented a pivotal moment, as digitalization became essential for survival. Various forms of online art mediation and platform-based promotion gained traction. Today, these innovations are no longer ad hoc responses but enduring fixtures in the art ecosystem.
Adopting an empirical approach based on 16 interviews with experts from France, Germany, Italy, the United Kingdom, and the United States, this study explores the opportunities that the digitalization of the art market creates for emerging artists. It develops innovative strategies to optimize the relationships among online art platforms, emerging artists, and other stakeholders using the Triadic Optimization Model (TOM).
Discussion
The findings of this study highlight a shift in market dynamics: online platforms not only disrupt traditional gallery models but also introduce more inclusive and fluid approaches to promoting artistic talent. Unlike conventional institutions, these platforms serve dual roles as both retailers and promoters, by integrating the interests of artists, collectors, and other stakeholders, and creating innovative synergies and new pathways for market access and audience engagement.
Our Triadic Optimization Model (TOM) extends existing theory by demonstrating the role of digital stakeholders in the creation of value in the art market ecosystem. It theorizes a new platform-based legitimacy, recognizing new forms of cultural capital driven by visibility, followers, and engagement, transcending traditional authoritative references, such as gallery representation or critic reviews.
The TOM further advances arts management theory by conceptualizing the contemporary art market as a nonlinear and fluid structure. In the digital ecosystem, the artist is no longer merely the beneficiary of institutional decisions but an active entrepreneur, curator, and promoter. While art collectors are not limited to simply buying artworks, they co-create value through digital engagement. The TOM derives from interview findings and the three key market developments identified below.
Affordability
The study highlights the necessity of adapting prices to the budgetary constraints of new buyer segments. Pricing policies are major points of differentiation between the online and traditional art markets. “Less fees by middleman” underscores cost reductions through lower intermediary fees, while “< €200” and “< €1,000” represent entry-level price points that attract first-time buyers. By creating a low-risk environment for new collectors, platforms can cultivate relationships that evolve over time, potentially leading to repeat purchases, artist patronage, and increased willingness to invest in higher-value works.
Nonetheless, this model also presents challenges. Lower prices may commodify artistic labor, pressuring artists to prioritize market trends over creative autonomy. The need to remain visible on competitive platforms can further push artists toward rapid production and commercially appealing styles, potentially compromising artistic freedom. Another differentiating factor of the online market concerns segmentation issues. While online platforms offer increased accessibility and convenience, they also lower the aura of exclusivity and entry barriers that traditionally characterize the art world.
Therefore, one key strategic recommendation is the implementation of a tiered pricing model combining affordable entry points with curated premium offerings.
Disintermediation
Another key development in the art market is disintermediation, which falls under the broader theme of democratization. Disintermediation reshapes interactions among stakeholders. This phenomenon, seen across industries through e-commerce, increases efficiency by reducing physical intermediaries. In the art world, disintermediation marks a major shift as online platforms challenge traditional galleries and dealers.
Artists benefit from increased autonomy by selling directly to global audiences, but also face new dependencies like platform fees, visibility algorithms, and marketplace norms. Collectors, on the other hand, gain broader access, reduced geographic and financial barriers, and direct engagement with artists.
However, market saturation can lead to information overload, and the absence of traditional vetting processes raises authenticity and provenance concerns. Reintermediation contributes to a more competitive art ecosystem, pushing traditional galleries and auction houses to adapt to digital platforms and hybrid models.
The digital landscape also encourages market fragmentation, forming niche micro-communities where emerging artists can grow audiences without traditional validation. This shift challenges established value systems, as gallery representation now competes with metrics like engagement or social media influence.
From a sustainability perspective, the volatility of digital markets can hinder stable income and career development for emerging artists, especially as self-promotion becomes essential. Conversely, disintermediation empowers artists to retain control over creative output, pricing, and audience relationships.
Towards a Hybrid Art Market Model
The study also highlights the importance of in-person visibility, as galleries, museums, art fairs, and other venues remain key for brick-and-mortar players, offering artists visibility, recognition, and sales opportunities. To stay relevant in the art market, gallerists can leverage their physical spaces by hosting events that connect artists, collectors, and other stakeholders. In the absence of in-person interaction, digital managers must use innovative tools to enhance online art experiences. The blend of physical and digital approaches leads to hybrid market models that strengthen stakeholder relationships and build collector trust.
Even though our results reveal an overall positive evaluation of the opportunities created by digitalization for emerging artists, several experts expressed reservations about the usefulness of some digital channels for emerging artists. For example, they fail to provide comprehensive features, such as shopping options, which impedes the sale of artworks. Moreover, it seems difficult to identify the target audience that is likely to purchase artworks.
Social media presence requires significant self-marketing effort for artists, who are not necessarily good at doing so. Another critical aspect of social media concerns its algorithm-driven preference for short videos over images. Social media often fails artists, as algorithms do not favor their content unless they create flashy Reels or TikToks.
Despite these challenges, hybrid models may enhance both long-term sustainability and artistic autonomy. Physical exhibitions continue to offer credibility and curatorial validation, while digital tools broaden access and enable global reach. When balanced well, this hybrid strategy allows artists to diversify their revenue streams, develop multiple audience touchpoints, and reduce reliance on a single channel or gatekeeper. Autonomy increases when artists can selectively engage in digital promotion while still participating in institutionally curated offline events. Moreover, platforms that combine high-quality presentation tools with secure, artist-friendly infrastructures could mitigate current risks and foster stable career growth.
IMPORTANT: note that this article contains scientific references that we have omitted to lighten the text. Please consult the original article if you wish to quote excerpts.
Contact us at mmiam@hec.ca to request a free copy of the full article published in the International Journal of Arts Management, Volume 28, Number 2, Winter 2026.
You can also browse our abridged research articles here.