The Decline of Artist-Run Shows in the Art Market: Has their Market-Making Power Diminished?



April marked the 150th anniversary of the first Impressionists’ exhibition in Paris in 1874. Monet, Renoir, Degas, and Pissarro founded the Société anonyme des artistes peintres, sculpteurs et graveurs, etc., after rejections from the official annual Salon. The event, held at 35 Boulevard des Capucines, attracted mixed reviews and few sales, with Monet and Renoir raising just 200 and 180 francs respectively. Today, Impressionist works fetch millions at auctions annually, making the group show a powerful tool for contemporary artists. But as Modernism fades into art history, the question arises: can group exhibitions still influence aesthetic and commercial agendas?

Major exhibitions like the Venice Biennale and the Whitney Biennial are curated by professionals for established institutions, but reviews suggest a lack of vigor and relevance to current life. The idea of the avant-garde seems outdated in a market dominated by institutions and dealers. However, some independent dealers are exploring innovative ways to present new artists, such as organizing intimate showcases in unique settings to engage a broader audience.

London-based shows like “Pourquoi” and “Bump” featured emerging artists in non-traditional spaces, offering a fresh perspective on the art market. Platforms like Instagram are becoming a vital tool for discovering new artists, with online influencers like Matt Carey-Williams showcasing innovative works. While the avant-garde may be a thing of the past, there is still room for independent dealers to reshape the art market and connect with audiences in meaningful ways.



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