Building Ethical Communities: Technology’s Role in Supporting Local Artists and Small Galleries

Why Small Galleries Matter

Small galleries and independent artists are essential to cultural ecosystems. They take risks, nurture experimentation, and reflect local identities. Yet many face rising costs of space, limited resources, and overshadowing by large institutions. The COVID-19 pandemic exposed and worsened these inequalities. But there is also potential. Technology, if used well, can act as a democratising force: giving voice, visibility, and connection.

The Current Landscape: Struggles and Opportunities

Recent data give a clearer view of the challenges and possible pathways.

• Australia: Over 1,500 visual artists and arts workers reported major income drops and worsened mental health during 2020-21 due to reduced contract work and cancelled exhibitions. Half reported “significant or extreme” changes in income compared to before COVID-19. The average income from visual art or craft practice in 2023-24 was only AUD 13,937, with stark gender gaps: men averaged AUD 23,130, women AUD 12,330, non-binary artists AUD 14,074. (Visual Arts Work; RMIT)

• Europe: An EU-wide survey (“Creative Pulse”) found that a majority of cultural professionals experience unstable incomes, with around 32 % self-employed compared to 14 % across the wider economy. Employment in the cultural and creative sectors fell by 3 % in 2020, one of the sharpest drops across industries. (Creative Unite; European Parliament)

• United States: According to the Art Dealers Association of America, about 70 % of galleries reported decreased revenue in 2020. The National Endowment for the Arts confirmed significant losses in GDP contribution from the cultural sector during the pandemic. (ADAA; NEA)

• Asia: A British Council report highlighted that East Asian arts organisations rapidly adopted digital tools during the pandemic—virtual exhibitions, livestreamed events, social media strategies—yet struggled with a lack of infrastructure and investment. In Southeast Asia, surveys emphasised how artists dependent on tourism and live audiences faced severe job and income losses. (British Council; Arts Equator)

• Latin America and the Caribbean: Museums and galleries in the region began experimenting with digital exhibitions and virtual tours during COVID-19, but faced a pronounced “digital divide”: uneven access to high-speed internet, limited technical skills, and a lack of funding for long-term digital programs. (IDB Report)

These figures demonstrate both the global scale of the crisis and the uneven resources available to small cultural institutions.

Elizaveta Glushkova, 2021

Technology Solutions for Community Building

Practical solutions are emerging. Digital platforms now allow for online galleries and virtual exhibitions that bring art to audiences regardless of geography. Social media continues to play a role in amplifying voices, though it also raises questions about algorithmic bias and ownership of digital content. Collaborative tools - whether for curating joint shows or organising virtual residencies - are helping artists and galleries connect with each other and with audiences in new ways.

Ethics must remain central in this process. Data ownership and the protection of artists’ rights are critical: creative work should not be exploited as free content for platforms whose business models remain opaque. Equally important is inclusivity in design. Technology that privileges already dominant voices risks repeating the same exclusions that exist offline. Supporting marginalised communities and ensuring cultural diversity online requires platforms to actively design for accessibility and fairness.

Community Engagement Strategies

Community engagement has shown promising directions. Virtual art walks, online studio tours, and digital artist talks have expanded audiences while creating intimate encounters with art. Collaborative projects - whether between small galleries or between institutions and local communities - have helped rebuild trust and shared ownership of culture. These models show that technology does not have to replace traditional practices but can complement and expand them.

Economic Empowerment Through Technology

Economic empowerment is another essential dimension. E-commerce solutions, digital marketing tools, and crowdfunding platforms offer practical ways for small galleries and emerging artists to sustain themselves. While the art market has long been dominated by elite networks, these tools create pathways for more transparent and community-supported economies.

Case Studies: Successful Community Initiatives

There are already examples worth learning from. Digital art festivals have given visibility to local artists who would otherwise remain unnoticed. Platforms connecting galleries across continents have created shared exhibitions that transcend geography. Indigenous communities have used technology to preserve and share cultural heritage on their own terms, showing how digital tools can serve as guardians rather than threats to tradition.

Building Sustainable Cultural Ecosystems

Looking forward, building sustainable cultural ecosystems means balancing technological innovation with respect for traditional practices. Digital programs must be designed for long-term use, not just as crisis responses. They should create inclusive spaces where diverse artistic voices can coexist rather than compete.

Jackman Gallery (Melbourne)

The Art Flaneur Model

This is the spirit behind Art Flaneur, a model that prioritises small galleries and independent artists. By focusing on community-driven discovery and ethical practices, it seeks to create a platform where local institutions are not overshadowed by global players but instead find new ways to connect with audiences. The emphasis is not on scale for its own sake, but on building resilient cultural networks that reflect the richness of artistic diversity.

Future directions will depend on both technology and policy. Emerging tools - from immersive media to AI-driven translation - can broaden access if applied responsibly. At the same time, public and cultural policy must recognise the need to support small institutions in adopting these technologies. Resilient creative communities will only emerge if artists, technologists, and policymakers work together to shape infrastructures that are inclusive, sustainable, and ethically grounded.

Conclusion

Technology is not neutral - it shapes how we see, access, and value culture. When guided by ethics, inclusivity, data rights, and a commitment to local voices, it can help strengthen cultural democracy. The task ahead is to ensure that innovation does not come at the cost of equity, but rather deepens our commitment to inclusive and diverse cultural ecosystems. The call to action is clear: build platforms and communities that empower, not exploit; that connect, not divide; and that keep the human values of art at the centre of technological progress.