Among the protagonists of art there have never been so-called Gatekeepers , figures such as collectors, gallery owners, merchants, critics or curators who have been able to follow up and succeed artists or movements with your own opinion.
Nowadays social networks give way to new ways of communicating, promoting and selling art also through new reference figures.
Does the art world also have its own Art Influencers?
Let’s find out together …
For some time now, Social Networks have become ideal virtual places to welcome Influencers , people with skills or not, who thanks to the visibility on their profiles are able to “influence” the own community by involving them, or by conveying them, towards some thoughts, visions, values or simply by purchasing products and services.
Today, commercial brands do not fail to hire influencers from millions of followers for posts or stories with the aim of sponsoring their products within solid communities , with a conversion rate, therefore the number of people who perform a given proposed action, real.
It seems that the concept of Influencer in the art world may be difficult to apply, however the communities of artists, collectors and professionals in the sector are making headway and growing, where the concept of engagement, and of micro-influencers o micro-community, enhances and rewards the solid and loyal community where, albeit with lower numbers, it is possible to reach vertical and punctual targets with high conversion rates.
In this way, new opportunities for storytelling, enhancement and sale of art to a sector public as well as to new art lovers make their way.
New “public figures” are created that bring with them an almost “unknown” audience to the world and to the art system, which by similarity is closer to that of the great museums and exhibitions, where however the option “purchase “, At least for affordable art (up to € 5,000), can be contemplated.
The dynamics are changing and innovative professions and roles are presented, such as art influencers, content creators and communicators.
This is a real challenge, which could shake the dynamics of promotion, communication and sale of art.
But it is good to be clear that Art must make use of communication strategies, levers and matrices in full and total respect for the fundamental values of culture, history and its protagonists without falling into a simple commodification without bases and skills .
Finding the right square and sensing the potential for public involvement, visibility, conversion and distribution of the art message will be the new challenge for those who choose to undertake it
Are the art world and its players ready to involve these new figures, seeing the potential results despite the classic communication channels and above all giving them the right value, including economic value?
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