Independent Visual Artists in Johannesburg and their expansion to the digital space, 2020-2024

Abstract

ABSTRACT The art world has undergone significant transformations in recent years, largely driven by digital platforms such as social media. These have altered the dynamics of visibility, recognition, and success for visual artists. Traditionally, galleries have served as the primary gatekeepers, offering institutional validation and access to networks of collectors, curators, and critics. However, in the wake of technological advances and the COVID-19 pandemic, independent artists in Johannesburg have increasingly turned to digital platforms as an alternative to traditional gallery representation. This study explores how independent artists in Johannesburg have navigated this shifting landscape between 2020 and 2024, using digital tools to establish new forms of capital and gain visibility in a rapidly evolving field. Research methods utilised include semi-structured in-person interviews to gather data from artists about their experience of the art world and use of digital technology. Interpreted with reference to Pierre Bourdieu’s theories of habitus, field, and capital, the data shows how artists accumulate and exchange cultural, social, and economic capital, both in the digital space and within the traditional art field. It highlights the complex interplay between the various forms of capital, as well as the tensions and opportunities presented by the digital space. The study also explores the limitations of gallery representation, which, while still valuable, no longer exclusively determines the path to legitimacy and success for artists. Instead, artists are forging new pathways to achieve autonomy and sustainable careers. This research aims to contribute to knowledge by developing a nuanced definition of the “independent artist” within Johannesburg’s contemporary art scene, an underexplored category in South African art research. Examining how independent artists make use of digital platforms to negotiate their positions and establish viable practices, the study sheds light on the implications of these shifts in the Johannesburg art field. It extends Bourdieu’s theoretical apparatus into the digital space by incorporating concepts such as digital social capital and digital habitus, providing a framework for understanding how artists navigate both physical and digital art fields in the twenty-first century. The study contributes to an evolving understanding of autonomy, visibility, and power in the art market, particularly in the context of crises such as the COVID-19 pandemic.