The Art Gallery and The Market in a Digital Age

Digitization influences all part of society, from social interaction to commerce. While certain parts of the cultural field have already altered drastically under the influence of digitization (e.g., the music industry), the art market seems to be lagging behind. So, this thesis examines how, from a perspective of cultural production (Peterson & Anand, 2004), technology changes the art market. Specifically, it analyzes how the primary contemporary art market of Amsterdam changes under the influence of digitization and how different types of galleries embed digital tools and media in their activities. Four types of contemporary art galleries are identified: established commercial galleries, established avant-garde galleries, young avant-garde galleries, and young commercial galleries, to be able to specify how and why different types of galleries utilize digital tools and media. Semi-structured interviews were done with ten gallery owners in Amsterdam. The interviews were then analyzed and coded. From the perspective of cultural production (Peterson & Anand, 2004), technology has, to some extent, changed the primary art market in Amsterdam. In terms of communications, promotions, discovery of art, consumer engagement, and public reach, all interviewed art galleries have largely digitized their practices. However, information asymmetry and the sales aspect of the art market were found to be more complicated areas of the primary art market to change. As has become clear, the sharing of information is largely related the commercial attitude of galleries, who share this information because it assists their business strategy. Avant-garde galleries are more traditional in this sense, emphasizing the importance of social relations and face-to-face contact, as argument against sharing information. In terms of online sales, commercial galleries, both established and young, were found to be utilizing the possibilities of the digital environment, while avant-garde galleries, both established and young, seemed less willing to exploit the options of online sales to the fullest. The primary market of Amsterdam appears to have the possibility to change under the influence of digitization, however, this does not apply to all aspects of the galleries’ practices, i.e., information asymmetry and online sales, at this point.