The midterm elections are finally behind us. As we reflect and examine the factors that shaped the race in the past few months, social media emerges as one of the key players. Much like in 2016, social media platforms such as Facebook, Instagram, and Twitter constituted the beating heart of the election campaigns and functioned as the primary source of information for many Americans. It now seems utterly frivolous to imagine social media could ever be excluded from political races.
Using social media as a main campaign tool certainly has its advantages, particularly when it comes to interacting with potential voters. Both Republicans and Democrats, even the most archaic amongst them, have understood the power of social media when it comes to campaigning. In an interview for the New York Times, Tim Lin, a Democratic digital consultant said, “Facebook is the most widespread platform, and for campaigns, it’s like broadcast television… You have so much reach, and so many ad units, and probably more eyeballs than anywhere else.” Democrats have been particularly generous when it came to investment in their social media presence and many of the small dollar contributions their grass roots candidates have managed to secure were spent on Facebook and Instagram ads. To an extent, this paid off, as many candidates found the different social media platforms to be effective tools with which to reach their voters. Let us not forget, of course, that social media (and Facebook particularly), has given us Beto O’Rourke, who based his entire campaign initially on social media. While he didn’t win the race, the massive turn out he enjoyed sure rattled the Republican hegemony in Texas and initiated a Blue Wave in the Southern state which will doubtedly be quelled anytime soon.
Until the very last minute in 2016, polls and pundits have deemed Trump an inevitable failure, even though his social media presence indicated otherwise; in retrospect, a serious consideration of the president’s social media activity could have predicted the horrors to come. The role of social media as an imperfect yet legitimate forecast tool of election results has been confirmed by a New York Times research which analysed the interactions of Republican and Democratic candidates on Facebook, Instagram, and Twitter. While overall Democrats’ popularity on social media was much higher, a breakdown of the survey’s statistics portrays a picture similar to the actual results. It appears that Democrats are far more popular on Instagram (whose users, as their voters, tend to be younger and generally more liberal) while Republicans perform better on Facebook (popular among older and conservative people as well as rural users). According to the survey, once the three Democratic senators who enjoy ‘superstar’ status (Sanders, Warren, and O’Rourke) were removed from the equation, a clear Republican lead could be seen in terms of the number of Facebook interactions Senate candidates had prior to the election (they, indeed, went on to win the Senate).
But for all its advantages as a hub of political campaigning, social media still bears some serious flaws in this respect. Social media content is still catered to the perceived stance of each user, which limits the number of opinions and views one is exposed to and maintains them in a siloed socio-political bubble. Furthermore, misinformation is still prevalent on these platforms and although social media companies have patted themselves on the back following the midterms, claiming they have successfully eradicated fake news from their platforms and blocked all interference attempts, such proclamations are impossible to corroborate.
It is crucial that people do not let the new role of social media in the political world distract them from consistent and responsible civic engagement. Americans shouldn’t let voting become yet another social media trend that dissipates following the elections, for the real work begins the day after. It should be acknowledged that flooding the virtual realm with ads and posts and podcasts and articles does not guarantee the inclusion of the other half of eligible voters who chose not to cast their ballots this week, and that other outreach methods must be further explored. Finally, as the nation morphs social media into the mecca of socio-political discourse, it is important to remember that real change emerges in classrooms and homes and familial conversations, where the future generation of voters get their initial exposure to the world of politics and understand the critical role they play in shaping it.
Having just moved into a new building and in need of art for my walls, I reached out to my friend who’s more involved in the local art scene for something interesting and relatively cheap. She immediately sent me eight different Instagram profiles of local artists, selling and promoting their art via the app. Not only did I find art to buy, but I followed some of the accounts and even went as far as saving one of the girl’s pictures to use as a reference for what colour I wanted to dye my hair next. This took me a total of ten minutes.
Currently, all over Europe, notable and famous museums and art galleries have been desperately attempting to change the demographics of their visitors to be more diverse. Those who consistently visit these museums and art galleries tend to be older, whiter and richer than the average resident of a city. What in fact seems to be engaging a larger and more diverse group of people is the impact of social media on all aspects of the art industry. In today’s art world, an artist and whatever works they post online are exposed for all, accessible to those interested and measured plainly in metrics of likes, follows and comments. It is evident that Instagram can be an incredible tool for well-established artists to spread their art, and create a sense of connection through online communities. An obvious example of the ‘FOMO’ induced, influencer-esque visual omnipresence is Yayoi Kusama’s exhibitions, which over the last few years have been travelling globally and have littered social media sites with images of her famous infinity rooms. But is this type of accessibility good news for the art world, and more importantly for younger emerging artists?
OnBuy.com found that the online art market has grown 20-25 percent in the past few years, and it’s estimated that this online market will grow at a rate of 15 percent per year, if not more. It seems as though there is no going back, social media, artists and galleries are becoming increasingly integrated with one another to appeal to this new digital age and new art fans. Dealers are increasingly reporting sales from collectors who discovered pieces using Instagram, and galleries and museums are beginning to heavily use and invest in social media sites to better understand art fans and promote events, shows and artists. It is easy to understand and see why well-established institutions and artists are benefitting from this new digital age. The real question is assessing how these technological changes are affecting emerging artists.
From an immediate glance, it’s obvious that practically everything has changed in terms of artists attempting to break into the industry. The traditional routes of needing representation, a gallery, or an agent are no longer necessary. Artists are creating partnerships and collaboration through Instagram direct messages and buyers are finding their next million dollar investment by simply scrolling through their timeline.
And while interactions within the art industry have changed completely due to technological structural changes, at its core, not much has changed about the art world. Buyers and followers of the art industry have always been obsessed with the artist and their lifestyles, not just their works and pieces. Social media provides a platform for more followers to inclusively watch and obsess over what they deem to be an “artistic lifestyle,” as well as observe the creative process itself. Anyone can like, comment, message, save, share and frantically consume content through the ease of their phones.
The sense of connection developed between interested buyers and fans with artists is stronger than ever before. Where the physical art world of several years ago had barriers of entry for buyers with money and social status, geographic region and privacy, the online sharing community of artists is for all to access. Art and the interest in it online are all about curiosity and education because the pressure of buying isn’t as heavily present. Nothing is stopping you from following and possibly, one day, buying.
Though there is an evident benefit on the buyer side, do these follower counts and Instagram metrics actually demonstrate success for emerging artists and their online efforts? Social media has solidified the importance and money in careers of being an “online influencer,” and interestingly enough the similarity between influencers and artists on Instagram is at times uncanny. Mediakix has estimated that in 2017 $1.7 billion was spent on influencer marketing and that this would rise to $2.38 billion by 2019. As the career aspirations of many around the world is to become an influencer, globally have career aspirations of simply being ‘influencers’, and with that, millennial artists are often seen as ideal influencers for many companies around the world. Successful emerging artists tend to be followed by many and liked because of the time evidently invested in curating an interesting online profile. In doing so, these artists are not only creating art they can promote, but they are creating a brand they can promote. They partner with streetwear companies, magazines, and other important online influential players. The young artists of today will have the best chance at succeeding if they are talented in whatever fine arts they chose to specialise in, but more importantly if they are able to curate a social media following that fits an attractive artistic aesthetic while aggressively marketing their lives.
Recent technological changes in the art trade industry have been disruptive and impactful as they seemingly create a shift in who has the power to promote, create and sell their art. The impact of technology, social networks and third-party applications has created a seemingly more decentralised art world, giving more power to artists, and more visibility and opportunity to those around the world who want to view, explore and understand art. As in all industries though, there must be a weariness moving forward and a call for hesitation that maybe relying solely on these virtual infrastructures can be dangerous and less freeing in the future.