By Emily Esposito
Boston University News Service
In today’s digital landscape, where visual art is increasingly encountered on screens rather than in galleries, the way we experience and appreciate creativity is undergoing a rapid transformation.
Art critic Jerry Saltz has often praised social media’s ability to broaden the reach of the art world. Meanwhile, critic Jorg Heiser has expressed skepticism about social media’s impact on art. Analyzing both perspectives allows us to weigh social media’s impact thoughtfully and consider a balanced approach to art engagement in the digital age.
Social media acts as a virtual gallery space, dismantling physical and economic barriers which allows people from around the world to view, appreciate and interact with artworks that might otherwise be out of reach. Without the need to rely on critics, curators or gallery representation, artists of all levels can reach audiences directly, aiding in a rich and exponentially more diverse art landscape.
For example, platforms like Instagram and TikTok allow artists to bypass traditional gatekeepers, making it possible for unknown artists to gain recognition based on public engagement rather than institutional approval. Previously, securing gallery representation could take years, with many galleries interested only in artists who fulfilled their specific vision. Social media, free from any single curatorial boundary, allows artists to connect directly with audiences, build their own following and earn income independently without ever setting foot in a white-cube gallery and having to split commission.
Known for her hyper-realistic drawings, CJ Hendry built a large following by sharing her work in ways that capture attention, such as time-lapse videos and carousel posts. By doing so, she was able to cultivate a reputation and fan base without the need for galleries or institutional critics. Social media empowered her to thrive independently, showcasing her process and unique approach to a broad audience.
Another artist who gained viral recognition without traditional gallery representation is Sara Erenthal. Based in Brooklyn, Erenthal is known for her distinctive street art and repurposed objects. During the early months of the COVID-19 pandemic, she experienced a significant surge in art sales through Instagram, surpassing her earnings from the previous three months combined. Their success dismantles long-standing paradigms once believed necessary for achieving recognition in the art world.
For someone to go viral online, there’s often a need for shock value; something Banksy used effectively to elevate his status from street artist to household name. Moments like Banksy’s 2018 “Girl with Balloon” shredding incident demonstrates how social media can amplify art’s reach and impact far beyond its original setting. This unexpected event captivated a live audience at Sotheby’s and within minutes, became a global phenomenon, sparking discussions about the value and purpose of art. Social media gave Banksy’s act an immediate, worldwide audience, transforming it into a cultural moment that transcended the traditional auction house.
Hans Ulrich Obrist has argued that this accessibility is a powerful force for the art world. In a 2014 interview with The Art Newspaper, he described how digital platforms contributes to the “democratization of art,” enabling artists to connect directly with audiences and bring art into people’s everyday lives. By allowing more engagement, regardless of location or socioeconomic status, social media is breaking down long standing boundaries in the art world, making it possible for a wider array of voices to be heard and recognized.
Similarly, Jerry Saltz has praised platforms like Instagram for extending the reach of the art world, allowing people who may never step inside a gallery or museum to encounter and engage with art in ways previously unimaginable. According to Saltz, social media offers artists a platform to share their work on their own terms, something that should be applauded.
Additionally, throughout history the art world has been largely Western-focused. This limited viewpoint too easily marginalized artists from other parts of the world, particularly Africa, Asia and Latin America, whose works didn’t fit neatly within Western narratives or markets. However, social media platforms have dramatically shifted this dynamic, allowing artists from every corner of the globe to showcase their work directly to a global audience. Artists such as Laolu Senbanjo, who incorporates Yoruba traditions and symbols into his work, and Osinachi, a pioneering digital artist from Nigeria, are redefining what it means to be an internationally recognized artist. This global exposure enables these artists to challenge Western art norms, enrich the global art narrative and inspire others in their communities.
While social media opens doors, it also introduces challenges that complicate our relationship with art. One significant concern is that social media’s emphasis on short, attention-grabbing content may reduce artwork to something that can be appreciated only briefly, robbing it of its depth and complexity. Artists are often pressured to create pieces that conform to social media’s algorithms, favoring easily consumable content over works that encourage prolonged reflection.
Social media fuels surface-level reactions that lead to misunderstanding and oversimplification. On platforms where quick judgments and soundbites often prevail, complex situations are frequently reduced to binaries: right or wrong, authentic or exploitative. In the case of Carmen Mola, audiences and readers reacted strongly to the idea of male authors writing under a female pseudonym, without delving into the nuances of the authors’ intentions or the context in which they chose anonymity.
Social media’s rapid pace amplifies outrage, often based on incomplete or simplified information, creating a habitat where thoughtful engagement is overshadowed by swift emotional responses. This tendency toward “outrage culture” can prevent audiences from exploring an artwork’s layers or understanding an artist’s intent, fueling judgments that may lack the depth that more deliberate, in-person discussions would allow.
These fast-paced interactions contrast sharply with the slower, more deliberate engagement encouraged by traditional art spaces. When viewed online, a work loses critical elements such as scale, texture and physical presence, details that contribute to the immersive experience of seeing art in person. The emotional resonance and spatial awareness that come with viewing art in a museum or gallery setting cannot be replicated on a phone’s five-inch screen.
The tendency to experience art solely through a digital lens risks diminishing the very aspects that make art powerful and transformative. Take Richard Serra for example, to fully appreciate his large-scale metal sculptures, it’s essential to experience them in person. The scope and physicality of his work create an immersive environment that can’t be captured on a screen; walking around and feeling the weight of the space is crucial to understanding its impact. Online, the sculptures lose the powerful presence that defines them.
Additionally, social media’s ever-changing algorithms create a volatile landscape for artists. Artists can be “shadow banned,” meaning their content is restricted or hidden without their knowledge. While they can still post, their work may not appear as prominently in searches, hashtag feeds or followers’ timelines. This tactic allows platforms to limit visibility of content deemed inappropriate or against guidelines without fully banning the artist.
Yet, as we know, artwork isn’t always “appropriate.” Nudity, political statements, and other sensitive content are often what give art its power. By potentially muting content that challenges norms or sparks conversation, platforms restrict artists’ freedom of expression, undermining the very impact that makes their work meaningful.
There is a challenge that remains in finding a balance which allows art to be widely available while preserving the richness of in-person engagement. For example, the #MuseumSelfie trend on Instagram has shown how social media can enhance museum visits by encouraging online audiences to interact with art in playful, personal ways while sharing their enthusiasm online. This trend opens museums up to a broader audience and makes art feel approachable, while also emphasizing the need for in-person interaction.
To ensure a balanced engagement, the individual artists and the broader art world need to embrace hybrid approaches that blend digital and physical experiences. For instance, digital previews of exhibitions could be paired with incentives to visit in person, encouraging viewers to move beyond the screen and fully immerse themselves in the work.
Already, some museums and galleries are experimenting with “digital-first” experiences that serve as gateways to in-person exhibitions, offering initial glimpses online while reserving the more profound, tactile experience for the gallery space itself. By blending online accessibility with the message that something needs to be experienced first-hand, these models could cultivate a new kind of engagement. One that allows audiences to discover art online but teases them to seek a deeper connection. This balance is not about rejecting social media but rather about curating the way we engage – what artists choose to share by prioritizing moments that invite viewers to pause, reflect, and connect.
As we navigate the exponentially growing digital age, the future of art lies in creating spaces, both online and offline, where art can be experienced not just as a scrollable image but as a portal to a richer, more profound encounter with the visual arts.
