Cracking The Art Matrix. Is Instagram A Permissive Environment For Subversive Art?
DOI:
https://doi.org/10.37130/aggfbg13Keywords:
Instagram, online performance, subversive art, online persona, activismAbstract
Focusing on Instagram artists, intuitive creators developing artwork that is not subscribed to mainstream systems of art production, and their online artistic personas, this paper contributes to the understanding of how social networks shape a new form of artistness and whether this emerging language has the potential to sidestep institutionalised art as well as the consumerism logic of Instagram. Employing qualitative Instagram profile analysis and interviews, 2 Instagram users with subversive art practices are at the core of this study that aims to determine the tactics they are using in order to be identified as social media subversive art makers. Online persona studies are a developing ground and this paper represents, all the more so, a novel investigation into the performance of online artistic personas and its impact on the artistic production of meaning. This paper tries to ultimately understand whether Instagram represents a medium that can be efficiently used for its nature in order to spread complex critical ideas through artistic language.
Downloads
References
Capriotti, P. (2010). ’Museums’ communication in small-and medium-sized cities’. Corp. Commun. Int. J. 2010, 15, 281–298.
Hiscox (2017). The Hiscox Online Art Trade Report 2017. A market yet to awaken?. Hamilton, Bermuda: Hiscox.
Kang, X., Chen, W. and Kang, J. (2019). ’Art in the Age of Social Media: Interaction Behavior Analysis of Instagram Art Accounts’, informatics, 2019, 6(4), 52.
Kelly, Y., Zilanawala, A., Booker, C., and Sacker, A. (2018). ’Social media use and adolescent mental health: findings from the UK millennium cohort study’ EClinicalMedicine 6, 59–68.
McAndrew, C. (2018). The Art Market 2018 An Art Basel & UBS Report. Zurich: UBS.
Moore, C., Barbour, K. and Lee, K. (2017). ’Five dimensions of online persona’, Persona Studies, 3(1):1-11.
Sherlock, M. and Wagstaff, D. L. (2019). ’Exploring the relationship between frequency of Instagram use, exposure to idealized images, and psychological well-being in women.’ Psychol. Pop. Media Cult. 8, 482–490.
Surowiecki, J (2005). The Wisdom of the Crowds. New York: Anchor.
Walmsley, B. (2016). ’From arts marketing to audience enrichment: How digital engagement can deepen and democratize artistic exchange with audiences’ Poetics, 58: 66–78.
Gothivarekar, S. (2020). ’The State of Social Media Behavior in 2020’ [Online]. Available at: https://www.bazaarvoice.com/blog/the-state-of-social-media-behavior- in-2020-instagram-trends-facebook-tik-tok/ (Accessed: 14 February 2021).
Hart, H. (2010). ’Citizen Curators’, ARTnews [Online]. Available at: https://www.artnews.com/art-news/news/citizen-curators-364/ (Accessed: 6 January 2022).
Jacobs J. (2019). ’Will Instagram Ever ‘Free the Nipple’?’, New York Times [Online]. Available at: https://www.nytimes.com/2019/11/22/arts/design/instagram-free- the-nipple.html (Accessed: 12 January 2022).
LUX Responsible Culture (2015). ’Diango Hernández’s disruptive Instagram art project’, LUX Responsible Culture [Online]. Available at: https://www.lux- mag.com/diango-hernandez-instopia/ (Accessed: 12 January 2022).
Manovich L. (2016). Instagram and Contemporary Image [Online document]. Available at: http://manovich.net/content/04-projects/162-instagram-and-contemporary- image/instagram_book_manovich_2017.pdf (Accessed: 6 January 2022).
Sehl, K., Tien, S. (2021). ’How to Create Beautiful Instagram Carousel Posts’, Hootsuite [Online]. Available at: https://blog.hootsuite.com/instagram-carousel/ (Accessed: 14 January 2022).
