Abstract
This chapter considers the media coverage provided by two digital platforms, Artsy and Artnet, which merge two activities traditionally kept apart in the visual art world: selling works of art and writing about them. This model raises questions about the independence of such media production vis-à-vis the market and the professional positions of writers. By comparing the new model to the classical conceptualization of art criticism, the chapter shows how this media production differs from the traditional art magazine. Indeed, art critics have been conceived as key agents in the process of legitimizing art, as they elaborate aesthetic arguments that contribute to establish its artistic and economic value. The chapter provides a detailed analysis of media content produced by Artsy and Artnet that demonstrates their lack of engagement in such aesthetic discussions. They rather favor the topicality of an artistic production as the main criterion guiding their editorial program. Ultimately, this new model corresponds to the introduction of branded content in the visual art world. Branded content is designed here to educate the public, since the expansion of the art market is foreseeable only if prospective customers have the knowledge required to appreciate the artistic and economic value of pieces.
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Notes
- 1.
The statistics presented hereafter are from SimilarWeb. https://www.similarweb.com. (Retrieved August 15, 2019) and cover the period from February to July 2019.
- 2.
The importance that these platforms have taken on in the visual art world became obvious to me during an exploratory ethnographic work that I did in Montreal in summer 2017 for another project (Bellavance et al. 2018). During this series of interviews, all my respondents mentioned Artsy as one of their main sources of information about contemporary art on the Internet.
- 3.
My translation from the original in French.
- 4.
This phrase is inspired by the famous statement of the American publisher Philip Graham, who said in a speech in 1963 that journalism provides a first rough draft of history.
- 5.
In terms of individual visits to their site, the two chosen cases are well above the other Web sites mentioned in this paragraph. For example, artprice.com (930,000), artfacts.net (117,000), and artnews.com (673,000). Statistics are from SimilarWeb (https://www.similarweb.com. Retrieved August 15, 2019) and cover the period from February to July 2019.
- 6.
Alexa indicates that more than 40% of the audience of the two Web sites are a shared audience that visit both sites. https://www.alexa.com/siteinfo/artsy.net. Retrieved August 14, 2019.
- 7.
http://www.artnet.com/about/aboutindex.asp?F=1 . Retrieved November 7, 2018.
- 8.
https://news.artnet.com/about. Retrieved November 18, 2018.
- 9.
https://www.artsy.net/contact. Retrieved November 18, 2018.
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Sirois, G. (2021). Digital Media in the Visual Art World: A Renewed Relationship with the Market. In: Kristensen, N.N., From, U., Haastrup, H.K. (eds) Rethinking Cultural Criticism. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-15-7474-0_8
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