COVID-19 has flipped the arts community upside down in more ways than one and has changed how art is produced, distributed, and received, in all likelihood, forever. Art is no longer solely viewed in a physical format. This challenges our previous societal ideas and constraints about perspective and how we view art. The new digital format opens up many new opportunities for new media and new ways to view existing art. The digital platform also opens art up to the world. Globalization and the idea of a more universal art style that emulates the concept of a connected, online culture begins to become a real possibility. Access to diverse styles of art can both perpetuate the hegemonic Western culture that already exists with increased exposure in non-Western countries but also acts as a platform for increased representation from global artists. Increased accessibility creates new opportunities for those who could not access physical art spaces due to physical and socioeconomic constraints. The breakdown of the socioeconomic barriers can allow for a broader exploration of the arts, and hopefully, into the future, a community of art lovers, allowing for more artists to pursue meaningful and profitable careers. On that note, art online and in-person during our return needs to become a space where representation matters. Successful careers in the arts are dominated by white men, who do not proportionally represent people within the arts community. We see it now more than ever in our digital spaces, where many of the careers which allow us to view art online are male-dominated. For art to be engaging, accessible, and relatable to all, well-curated exhibits with diversity as a top priority need to be created to ensure that representation and equality are achieved, both for art viewers and art workers alike.
The pandemic has really highlighted some of the outdated practices in the arts community by moving it to a more visible platform. In this new light, we can clearly see some of the pitfalls that we had accepted as a standard before. COVID has pushed the art world further into a realm it was already headed: one that is more inclusive and less bourgeois than before.
The arts exist to be enjoyed. To imagine a world without art is to imagine a lack of culture as a whole. While many see the pandemic as a threat to the arts, I’d like to see it as an opportunity: for reform, growth, and abolishment of the inaccessible standards of the past. When we were more isolated than ever, people looked to the arts online, including film, television, performances, and visual arts, as a form of human connection. Proof that it is integral to our society, our sanity, our existence. The arts can, and should, be supported, by both patrons and government, especially in times of struggle. The arts connect, uplift, and create meaning. Economic factors should not threaten their existence. Too often, we dismiss the arts as frivolous, something disposable that should not be spent on. However, with an investment in accessibility, fostering an appreciation of art in society will allow for a change in mindset and a growth in meaningful, successful careers in the arts; an investment in culture. COVID has proven it possible, highlighting the resiliency and adaptability of this community. Now we must demand that action continue to be taken.
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