Art galleries will emerge from the covid-19 disaster like a phoenix from the ashes. Prior to the covid-19 shutdown, galleries were brick-and-mortar only spaces; underutilising their digital resources. Covid-19 has forced galleries to reconsider how they operate, redevelop their online offerings and reassess how they engage their audiences on social media.
Right now, experts are warning that mass gatherings, such as going to galleries, could still be 6-9 months away. Thus, galleries need to become more innovative in how they interact with their audiences and start creating some revenue from their online offerings.
Galleries have utilised social media platforms, such as Instagram and Twitter as a mere marketing tool. They have been able to advertise upcoming events and exhibitions, and showcase some interesting pieces and people entering the gallery. Since covid-19, galleries are using social media as a way of directly connecting and engaging with their audience. The beginning of this connection was through the hashtag #betweenartandquarantine where people were encouraged to trawl through the digital archives of artwork to find pieces that could be replicated at home with objects found around the house. This has been an effective initiative in bringing together the creative community and bringing to light some amazing pieces in galleries’ collections across the globe.
Galleries have found new ways to connect and engage with their virtual audience. This has included; more virtual tours (NGV, The MET, Louvre and more) being uploaded on social media and websites; curators leading people through gallery spaces and explaining the art, design and curation and; adding activities online for families to complete at home.
These initiatives aim to provide a connection between the gallery and its audience; however, all of these activities are impersonal and lack true human connectivity. Research has shown that people attend galleries for three main reasons; education, entertainment and socialising. Presently education is being met, but entertainment and socialising can be enhanced.
Galleries could host a live event, similar to Delivered Live, where they can develop corporate partnerships, have live music, and recommend food and drink that is themed to the art exhibition. An event such as this would create a more social and youthful feel to the gallery, reminiscent of times when galleries hosted Friday night events.
Further, they could offer private or semi-private (small group) virtual tours of the gallery spaces. People can pay a premium to have that time with a curator walking them through the galleries. This would allow people with similar interests to gather online and discuss art. All of these experiences would allow the gallery to bring in revenue.
These changes towards more online interactivity are not just useful in a time of physical distancing, but should continue to be utilised post covid-19. With the increased social media presence of galleries, it is likely that galleries are reaching a wider audience than ever before. This has included gaining followers from overseas who might wish to continue their engagement, but without virtual are unable to do so due to geographical restrictions. If galleries continue to digitally innovate, audiences are able to be part of the gallery from a distance. Further, galleries might wish to consider offering overseas/interstate memberships, which have reduced fees but give special online privileges to people in a different location to the gallery. If the online experiences during these challenging times are positive it could lead to someone having a desire to support the gallery financially.
Galleries need not fear that an increased movement to online gallery experiences might negatively impact their business when they are allowed to re-open. These online experiences cannot replicate the experience of being in a gallery, but they can enhance it. It is impossible for the brick-and-mortar experience to be overshadowed by the virtual, for art necessitates a certain intimacy and closeness to be fully comprehended and admired.
My own experiences confirm the need to see a work of art in person. In 2009 I went to the Museum of Modern Art (MoMA) in New York City and laid my eyes on Vincent van Gogh’s The Starry Night (1889) for the first time. I had witnessed his work for the first time in a book in 1997 and was mesmerised, but that feeling of seeing it in person is one I will never forget.
Virtual experiences are essential in times such as these, where people are alone, depressed and in need of beauty, but nothing can replace seeing a true masterpiece in the flesh.
Curatorial Compass 