The Instagrammification of Everything

Instagram users know that posting isn’t merely about sharing memories. From stunning brunch tablescapes to contemplative art gallery selfies, posting is fueled by the desire to tell the world where that person is, who they’re with, and what they’re doing. Even founder Kevin Systrom has admitted that Instagram isn’t a photo-sharing app; they’re a communication company. [1] For better and for worse, we have all been promoted to Chief Marketing Officer of our own brand. We rely on visibly displaying cultural capital (symbols, language, and aesthetics rooted in education) to portray who we want to be. This performative cycle impacts more than mental health — it plays out in the art world. In an era where digital personas and self-promotion is rewarded, artists and non-artists alike must practice greater transparency.

iHeart, Nobody likes me. Photo Courtesy: Artland Magazine

There is no shortage of medical studies and parental concerns about these platforms. While not the main focus of this article, the mental health impacts are impossible to omit. Social psychologist Jonathan Haidt, author of The Anxious Generation: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness, leads the discourse on phone-based childhoods. Haidt argues that the collective departure from play-based childhoods is the strongest factor in collapsing teen mental health, and Instagram is largely to blame. Five years after it was founded, Instagram began to replace unsupervised play, in-person socializing, and fueled addictive social comparisons. Suddenly, it was the norm for girls (and boys) to spend hours taking and editing selfies. Haidt describes this situation, noting that “the hours girls spent each day on Instagram were taken from sleep, exercise, and time with friends and family.” [2] 

Haidt writes that existing studies wrongly treat social media “as if it were like sugar consumption”—a flawed comparison since social media transforms life even for those who avoid it, unlike eating too much candy. People who choose to opt out find themselves out of the loop and disconnected from friends who continue to cultivate their digital personas online. This divide emphasizes the pervasive influence of social media, affecting everyone regardless of their level of participation. [3] 

 Book Review of The Anxious Generation by Jonathan Haidt. Photo Courtesy: New York Times 

Few people argue Haidt’s case. However, the conversation doesn’t end here. Instagram's influence extends further into social dynamics. Social media enables people convey obscure, codified symbols to others who are ‘in the know.’ These symbols represent cultural capital — a term coined by sociologist Pierre Bourdieu to describe non-financial social assets that promote social mobility beyond economic means. Examples of these assets include prestigious college degrees, style of speech, and dress; qualities that appear costless but imply a certain status.   

Curated photos of exclusive events, interest in the arts, and aesthetic Pilates classes are all markers of one’s cultural capital (even if displayed nonchalantly). Elizabeth Currid-Halkett describes the significance of these totemic activities in The Sum of Small Things. Buying fresh produce from a farmers’ market or dining at hole-in-the-wall restaurants discreetly signals social and environmental consciousness, as well as the leisure time to engage in such pursuits. And posting it proves it to your network, reinforcing the carefully created digital persona that signals status and cultural capital to online spectators. 

On one hand, the ability to convey taste in the digital realm has some positive outcomes. Currid-Halkett notes that social media platforms can help bridge the gap between coastal elites and middle America. This is especially prevalent in the art world, where an artist from a small town might gain recognition and success by showcasing their work on Instagram. Essentially, digital showcasing can democratize exposure, allowing individuals to connect across social and geographical divides. 

Julia S Powell, Sunlit, Oil on Wood. Photo Courtesy: Julia Powell

There are also financial incentives. According to art journalist Zoe Goetzman, Instagram allows the average artist to embody both artist and dealer. As a virtual gallery space, artists keep 100% of their sales, instead of giving 50% to a dealer. Julia Powell, an artist from Cambridge, Massachusetts, says the key to getting work seen on Instagram is to post high-quality content and interact with as many followers as possible. [4] Nearly 90% of Powell’s inquiries come through DMs. 

Alexa Meade uses Instagram to showcase her unique painting technique, which turns three-dimensional subjects into two-dimensional paintings. Her work went viral in 2010, leading to numerous opportunities for live installations. She has exhibited at prestigious art institutions such as Saatchi Gallery's "The Art of Giving" in 2010, the Smithsonian National Portrait Gallery's "Camera-Ready Color" in 2012, and Sotheby’s New York's "The Art of VR" in 2017.  [5] Meade frequently posts pictures of her in the act of painting and has an entire highlight reel called “Process,” giving viewers a sense of interaction.  

Alexa Meade painting. Photo Courtesy: Alexa Meade Instagram 

On the other hand, artists’ enmeshment with social media has prompted concerns. Some think that money-driven approaches are “tarnishing the alternative innate value system cherished by the art world,” as Naomi Martin writes. The endless quest for the perfect Instagram post also may inhibit being present with art. “When visiting a museum or exhibition it is now mundane to observe viewers walk past the artwork, phone in hand, ready to snap and promptly post with the appropriate hashtag – looking at the art itself through the window pane of their device rather than directly with their own eyes,” Martin also notes. [6]

Both within and outside of the art community, social media perpetuates a cycle of performance. Users create their online brands with the intent to appear authentic, but profiles are meticulously curated. Authenticity is tied to how well one can present a coherent and relatable social media persona. [7]  Gwenn Seemel, proud anti-Instagram artist, writes that creatives are “drafting posts based on what they think someone (or something like the platform’s algorithm) values. Sometimes artists are going so far as to create the artwork they post based on what they think will do better on a given app!” [8]  While social media isn’t to blame — humans have always loved status games — it has amplified it.

Children’s Book Crime Against Nature, by Gwenn Seemel. Photo Courtesy: Gwenn Seemel 

In addition to being more performative, users are also categorising themselves. One study found that using out-group language increases the chance of a post being shared. This behavior means individuals frequently signal their cultural and social affiliations by aligning with in-group values, which can elevate their status within their community. In the art world, over-categorising translates to a fragmented community. Artists may feel compelled to align with specific movements or groups to gain visibility and engagement, potentially limiting their own originality.  

For artists, creatives, and everyday users, social media platforms like Instagram offer a unique opportunity to leverage cultural capital. The ability to translate personal taste into real-world opportunities is an amazing concept – and isn’t exclusive to Instagram. In The Art Newspaper’s “Insta’ Gratification” column, Kenny Schaeter writes, “I am all but certain that within the next five years, we will be addicted to yet another, as yet undefined, app that is sure to take the art world by storm.” [9] 

We’ve reached a point of democratised exposure, allowing a small-town artist to gain global recognition or an influencer to build a personal brand that resonates with millions.  However, this empowerment comes at a cost. Instagram has transformed the way we interact, present ourselves, and perceive others. Whether these changes are beneficial or detrimental is up to us. 

Footnotes:

[1] Kevin Systrom. Brainy Quote.

[2] Jonathan Haidt, “Social Media is a Major Cause of the Mental Illness Epidemic in Teen Girls. Here’s the Evidence.” After Babel.

[3] Jonathan Haidt, “Social Media is a Major Cause of the Mental Illness Epidemic in Teen Girls. Here’s the Evidence.” After Babel.

[4] Zoe Goetzmann, "These Artists Jump-Started Their Careers by Selling Directly to Collectors on Instagram." Artsy.

[5] Zoe Goetzmann,"These Artists Jump-Started Their Careers by Selling Directly to Collectors on Instagram." Artsy.

[6] Naomi Martin, “How Social Media Is Shaping Art – The Impact of an Instagram Obsessed Culture.” Artland Magazine.

[7] Eve Smerchinski, "The Practice of Curation on Instagram: A Bourdieusian Approach" (2021). MA Research Paper.

[8] Gwenn Seemel, “Social Media is Bad for Art.” Gwenn Seemel Blog.

[9] Kenny Schachter, “Gram today, gone tomorrow? Kenny Schachter predicts Instagram's future in 2021.” The Art Newspaper.

Lily Holmes

Luxury Editor, MADE IN BED