Overview and key figures
In the Culture Monitor, we look at the 'chain' of the visual arts sector: from arts education and postgraduate institutions to visual artists (makers).
By visual art, we understand not only the more traditional form (visual art objects such as paintings, drawings, sculpture, video art, and installations) but also intangible visual artistry, such as social projects and performances. Visual art can be found in numerous contexts in the Netherlands; consider the aforementioned institutions within the chain, but also in public spaces. Due to this broad distribution, visual art therefore has many points of contact with other domains such as Design and Heritage, but also photography, fashion and public space.
The visual arts sector organizes itself, among other things, through informal consultation.
Below, we present a number of available key figures regarding the visual arts sector. Where possible, we map out the aforementioned links in the chain. It is important to bear in mind that different categories and definitions are used regarding what exactly 'visual arts' entails, meaning that these figures, taken together, cannot paint a clear picture of the sector.
Organizations
Key figures regarding the number of different types of organizations within the visual arts sector chain are presented below, where figures are available.
Number of members of De Zaak Nu
Number of art museums
Visual Arts Training Locations 2026
There are figures from Statistics Netherlands regarding the number
In 2025, there were 81 visual arts festivals in the Netherlands, which is slightly fewer than in previous years (Respons 2026). Most festivals took place in South Holland (24) and North Holland (21), followed by Gelderland (12). Over 2 million visits were made to visual arts festivals throughout the country, with North Holland, South Holland, and North Brabant attracting the most visitors (around 500.000 visits in all three). It is important to note here that the definition of 'visual arts festival' is quite broad, as design, film, architecture, and gaming are also included.
Job market
Visual artists constitute a relatively small professional group compared to photographers and designers. Within the already precarious cultural labor market, the position of visual artists is particularly vulnerable. The key figures regarding the income of visual artists below demonstrate this.
Number of visual artists, graphic designers and product designers, and photographers and interior designers
Proportion of women in the occupational groups of visual artists, photographers and interior designers, and graphic designers and product designers
In Collective Selfie 5: Figures and Trends in the Visual Arts (Vinken et al. 2025) present extensive figures on visual artists and their professional practice. The 'Selfie' shows that in the period 2015-2023, around 15.000 to 16.000 visual artists were active in the Netherlands annually – making up 10 percent of the total professional segment.
Alumni of visual arts programs who work within their own field after graduation
Alumni of visual arts programs who work both within and outside their own field after graduation
Upon entering the labor market, visual artists less frequently work exclusively within their own field than other art alumni do on average. Consequently, they more often have to combine work within their own field with work outside the visual arts (Vinken et al. 2025).
Average personal income
The average
Number of artists working as self-employed in a second workplace
Number of artists working as self-employed in a second workplace
The figures above show the extent to which visual artists work independently or are employed (Vinken et al. 2025). A distinction has been made between the 1e work environment (job where most time is spent) and the 2e occupation (the job to which the most time is subsequently devoted). Virtually all visual artists who practice the visual arts profession as their main job (in the first occupation) work independently (97 percent in 2021-2023). For the other creative occupational groups, that percentage is significantly lower (around 50-60 percent) – although that is still a high percentage compared to the national share of self-employed persons in the labor market (13 percent) (CBS n.d.). If we then look at the second occupation, the picture reverses: less than half of the visual artists work there as self-employed, and the other occupational groups are actually in the majority (around 60 percent) (Vinken et al. 2025). This means that the other creative occupational groups are more often employed as their main job and earn extra income as self-employed. For visual artists, the reverse applies: they almost all work independently, and in any second occupation, they are more often employed than self-employed.
Staff at visual arts institutions
How many people work at visual arts institutions? Some figures are available regarding this, but due to various measurement variables, they do not clearly align with one another. CBS Statline shows the business size by number of employed persons for art lending centres (SBI 91012) and for art galleries and exhibition spaces (SBI 91022). Here we see that in 2025 most of these organisations have only one employed person (this applies to 65 of the total 85 art lending centres, and to 590 of the total 760 art galleries and exhibition spaces). For art museums More detailed figures are available from Statistics Netherlands regarding, among other things, the number of employed persons in salaried employment and the number of FTEs of employed persons in salaried employment (CBS 2025a). For instance, in 2024 there were a total of 4.478 people in salaried employment, and 1.878 other employed persons (such as self-employed professionals) were active at art museums. It would be valuable to also gain insight into the number of FTEs and the number of employed persons for art lending centers, art galleries, and exhibition spaces, in order to facilitate comparison between these institutions and art museums.
Visit to visual arts
To get a picture of attendance at and practice of the visual arts, we use figures from the Leisure omnibus (VTO) (carried out by the Boekman Foundation, Mulier Institute and CBS) (Swartjes, De Hoog 2026). On this page, we discuss the professional visual arts in particular and therefore do not show the figures on the practice of visual arts in leisure time; for this, please consult the publication of the VTO (pages 75-79).
Share of visual arts visitors among the population
Since 2024, the VTO has for the first time also been looking at visits to visual art in studios, galleries, or exhibition spaces. In 2024, over half of the Dutch population (53 percent) visited one of the visual art locations indicated in the figure above at least once. As a result, the share of visual art visitors is back to pre-corona pandemic levels.
Visual art in public spaces is visited by 37 percent of the Dutch population, making it relatively the most popular location for viewing visual art. This involves a wide variety of art forms found in all kinds of locations in our living environment, such as sculptures, environmental art, land art installations, and wall art like murals, mosaics, reliefs, and graffiti (RCE 2026). Due to this wide distribution, it is logical that many people come into contact with such artworks.
Three out of ten Dutch people visited an art and design museum in 2024 (31 percent), comparable to the result in 2018. Attendance at modern art exhibitions also reached the 2018 level: 22 percent. The share of Dutch people visiting exhibitions of old art (22 percent) is slightly lower than the level before the corona pandemic (26 percent in 2018).
In addition to museums, visual art can be seen at many different types of locations and is offered by various types of institutions, such as contemporary visual arts institutions, galleries, studios, and other exhibition spaces. According to the VTO, in 2024, 18 percent of the Dutch visited a studio, gallery, or exhibition space at least once. However, a further breakdown was not requested.
Those visiting visual art visited a visual art location an average of 8,5 times per year in 2024. This increase is primarily attributable to a change in the questionnaire, as the number of visits to art and design museums is now also known for the first time, and the number of visits to studios, galleries, or exhibition spaces has been surveyed.
The VTO publication further examines demographic differences in visits to visual arts. For instance, we see that the proportion of visual arts visitors is highest among Dutch people with a higher professional or university degree (69 percent), that Dutch people aged 34 and younger are more likely to visit visual arts offerings than in higher age categories, that primarily families with a high household income visit visual arts, that residents in urban areas visit visual arts significantly more often, and that having a disability reduces the likelihood of visiting visual arts offerings (Swartjes, De Hoog 2026).
Money flows
How are the financial flows organized within the visual arts sector? The visual arts chain includes, among other things, the education, development, research, production, distribution, and consumption of visual art. The Course (art education) is primarily funded by the State. In addition, the State funds a part of the development (in the form of work contributions) (FairPACCT n.d.).
To watch the production For visual arts, the Schwerpunkt of funding lies with the central government, primarily through the Mondriaan Fund, but other government bodies also finance the production of visual art (think of the funding of projects, commissions, and acquisitions). Municipalities are primarily responsible for the distribution en decrease of visual arts. In particular, municipalities focus on studio and incubator policies. From the national government, there is furthermore a decentralization grant for visual arts to nearly 40 large municipalities, and the municipalities are required to match this grant. Institutions for contemporary visual arts, art museums, and festivals can be subsidized by the national government, provinces, and municipalities. A few provinces are responsible for the dissemination of visual arts through art lending services and visual arts centers (FairPACCT, n.d.).
In addition to funding from the government, there is a free market comprising galleries and art fairs (FairPACCT, n.d.). Furthermore, institutions for contemporary visual arts, for example, invest in the development of artists, whose funding is not always (exclusively) provided by the central government. Private funds, such as the VSB Fund, the Cultuurfonds, and the Niemeijer Foundation, also invest in visual arts and artists.
Below, some key figures regarding financial flows within the visual arts are highlighted.
The figures above show the expenditures of municipalities, provinces and the government on visual arts (and design). The government, provinces and municipalities support cultural institutions separately from each other via
Revenue mix for art museums 2024
Average spending on art by private buyers at galleries, 2021 vs 2017
On our page Money flows It has been calculated that the visual arts sector earned at least 256,1 million euros in own revenue in 2023. This analysis is based on revenue from image rights (source Pictoright) and revenue from art museums (source CBS). In 2024, Pictoright paid out 13,1 million euros in royalties to creators whose visual material was used. The art museums had a combined own revenue of 243 million euros, of which 140 million euros was from audience revenue and 103 million euros from other revenue (income from sponsorship has been excluded from this calculation).
In the revenue mix of art museums, we see that total own revenues in 2023 and 2024 are roughly equal to the total subsidies received from the national government, provinces, and municipalities. During the coronavirus period, own revenues dipped sharply, and government subsidies kept the museums afloat. From a government perspective, art museums are financially heavily dependent on their municipalities, followed by the national government (see also '2.2 Connection with the region').
The most recent available figures on galleries' own income date from 2019; in that year, the average turnover of galleries was €270.000, based on the NGA Market Research in which 85 galleries participated (NGA 2022). It is interesting to note from this market research that the purchasing behavior of art buyers, although fairly stable, is growing primarily at the lower end of the market. In 2021, 25 percent of art buyers spent an amount lower than €500, whereas in 2017 this concerned 18 percent of buyers (NGA 2022).
Some figures regarding the financial flows within institutions for contemporary visual arts (presentation institutions) are available in the Collective Selfie 5 (Vinken et al. 2025). Unfortunately, there is (yet) no broad monitoring instrument for these institutions (such as Museana for museums) to provide a longitudinal overview of these figures. Based on a one-off sample of 91 members of De Zaak Nu, it was determined that the turnover of these institutions totaled nearly 65 million euros in 2022 (Goudriaan et al. 2023b). That is an average of 710.000 euros per institution for contemporary visual arts. Most of these organizations belong to the category of small institutions with a turnover of up to 250.000 euros per year (Vinken et al. 2025, Goudriaan et al. 2023b). The Collective Selfie 5 Furthermore, using figures from the Mondriaan Fund, it shows how much subsidy was paid out to art venues. In 2024, this totaled 87,3 million euros, distributed across 97 applications.
Trends and developments
Fair pay & Fair practice
Fair Pay
Fair Pay is an essential step to bring the income of visual artists closer to the Dutch average. In 2023, it was mapped out what the additional costs are for Fair Pay in the cultural sector: for the category 'Visual arts and creative industry' 3,2 million euros are needed. 63 percent of this (2 million euros) is needed for the visual arts. This high percentage is caused by the fact that the visual arts have many small and medium-sized organisations that only receive short-term or limited subsidies. Of the additional costs within the visual arts and creative sector, almost half (1,5 million euros) relate to additional costs of salaried personnel and slightly more than half (1,7 million euros) to self-employed persons (Geukema et al. 2023).
To promote Fair Pay in the cultural sector, various instruments have been developed in recent years, such as the Guideline for function and salary structure for visual arts institutions of De Zaak Nu and, since 2017, the Artist Fee Guidelines. from evaluations It turned out that presentation institutions for contemporary visual art had the most for this
Based on that, the guideline was recalibrated including flexible setup and dismantling hours, additional artistic and content-related activities, and differentiation based on the size of the institution. This updated guideline was scheduled to take effect on January 1, 2025, but led to new questions regarding the rates applied and potential financial consequences for both institutions and artists (fairPACCT 2025). A independent second opinion has therefore re-examined the revised guideline, after which recommendations were made to the Visual Arts Chain Table. The latter is currently working on a single joint, clearly formulated fair-pay guideline and an accompanying calculator. This process is still ongoingIn the meantime, organizations can apply to the Mondriaan Fund for a grant based on either the revised or the classic Artist Fee Guideline.
Fair Practice
In recent years, various institutions have been trying, due to the still persistent
Connection to the region
Culture must become more accessible to the region – this applies to the entire cultural sector following criticism in recent years regarding an unfair distribution of government support, in which some
The visual arts sector is strongly linked to local policy. This is evident, among other things, when comparing the revenue mix of art museums with that of other types of museums. This shows that
Revenue mix for art museums 2024
Revenue mix other museums 2024
International art market
The program Art Market Report (McAndrew 2025) monitors the international art market. The figures show that after two years of decline (-4% in 2023 and -12% in 2024), the international art market is experiencing a slight increase in value of 4% in 2025 (total value is around 56 billion euros). This concerns the entire international art market, in which the US, the UK, and China are the largest players (together accounting for 76% of the total value). In Europe, France (8%), Switzerland (3%), Germany (2%), and Spain (1%) account for the majority of the total value of that international market (McAndrew 2025). However, figures for the Netherlands are missing from this publication, as the Netherlands is a relatively small player in the international art market.
It would be valuable to gain insight into the share that Dutch artists make up of the international art market. Contemporary visual art is an important market for the visual arts sector, and that contemporary art market operates largely internationally. No figures are yet available that provide insight into how much Dutch art is sold to and in other parts of the world. However, DutchCulture does have a
The government invests in International Cultural Policy (ICB) from a 'Policy Framework for International Cultural Policy' for 2025-2028, based on policy agendas of the Minister of Foreign Affairs (BuZa), the Minister for Foreign Trade and Development Cooperation (BHOS), and the State Secretary for Education, Culture and Science (OCW). Under this multi-year plan, DutchCulture is funded as a cross-sectoral support institution, and the Mondriaan Fund, among others, receives a budget to invest in international cultural policy. The Mondriaan Fund, in turn, has various
Diversity, equity and inclusion
There seems to be no shortage of initiatives to promote diversity, inclusion and equality within the visual arts. Some institutions focus primarily on involving the public, such as making exhibitions for visitors with a disability. Other institutions are primarily focused on the content of their exhibitions, by, among other things, a critical look to throw on the permanent collection, to investigate their colonial past and to focus on decolonization, or to take gender diversity and polyphony into account in the purchasing policy. In line with this, much reflection is also taking place around the use of language in exhibitions. Various insights regarding inclusive exhibition texts are summarized in the Handout Values for a New Language of the Diversity & Inclusion Code (Samuel 2022) and Words matter. An incomplete guide to word choice within the cultural sector (Modest 2018).
The openness around the theme is increasing. An example of this is the Stedelijk Museum Amsterdam, which had its process of change towards more diversity and inclusion in the museum recorded in the documentary White Balls on WallsThis has given an impetus to these discussions within the visual arts domain, where there is increasing reflection on the inequalities at play within the domain—and in society. Yet, it remains to be seen whether reflection always translates into actual equality, regarding both income and influence. After all, inequality manifests itself on various levels.
Background of staff 'Visual arts, museums and heritage' and other disciplines
Gender of staff 'Visual arts, museums and heritage' and other disciplines
Age of staff 'Visual arts, museums and heritage' and other disciplines
The above figures are from the research Diversity of staff, self-employed supervisors and advisors in the cultural and creative sector: what will the situation be in 2024? (Bosma et al. 2025). They show diversity to a limited extent in terms of origin, sex, and age per cultural discipline: the figures relate to the staff (including paid interns) of subsidized institutions.
Visual arts, museums, and heritage are considered here collectively as a single discipline. With regard to
In terms of age, the largest group of workers within the visual arts, museums, and heritage sector is between 35 and 65 (61%). Nationally, 43% of the workforce is under 35, 53% is between 35 and 65, and 4% is 65 and older. Therefore, an above-average number of people between 35 and 65 work in the visual arts, museums, and heritage sector – however, this also applies to most other cultural sectors.
Gender (in)equality
The position of women in the visual arts is disadvantaged compared to that of their male colleagues, as shown by various studies (Heithuis et al. 2021, Haeren et al. 2024) and by regular
The reason for this cannot be demonstrated from the figures, but from discussions held for the research (Haeren et al. 2024) with the sector it can be concluded that the inaccessibility of the visual arts sector for artists with (young) children may play a role in this. In recent years there has been an increasing number of
The study by Haeren et al. (2024) also makes it clear that the average
Income by gender
Existing studies on the representation of women in museums make it clear that women are severely underrepresented within various sectors of the art world. Figures on the representation of art by female artists in museums
Gender ratio of artists at international fairs
Read more about this topic on the page Diversity, equity and inclusion.
Digitalization and AI
Digitalization has a profound impact on the visual arts, as described in the publication Value of image, image of value (Manshanden 2023). Hybrid forms or digital works are emerging with increasing frequency – and since the outcome of this publication, AI plays an increasingly significant role in this. At the same time, the gains that digitization can bring, for example in increasing reach and access, do not yet contribute to better economic positions for creators (Ibid.). The online environment revolves around 'sharing': collecting reasonable compensation for 'content' (whether amateur art or professional visual art) is therefore no simple matter. For the many ways in which images can be used online, appropriate compensation is not yet always available for visual artists – although copyright organizations are working Pictoright advocates for compensation for visual creators.
The research Online breaches in focus (Blaker et al. 2025) examines the unlawful online use of photos following a motion adopted by the House of Representatives regarding the need for fair compensation for photographers for the online use of their photos. The study focuses on 'small users' (private individuals, small non-commercial organizations such as foundations and associations, and self-employed professionals). The research shows that there is a low level of knowledge regarding image rights among these small users: while they are aware of their existence, the exact rules governing them are unknown to many. Of all small users (approximately 286 to 360), about 30 percent post a photo annually that constitutes an online infringement – ultimately amounting to hundreds of thousands of infringements per year. Only a small proportion of these users are aware that they are infringing image rights. The study further reveals a substantial gap between the annual licensing value lost by photographers due to online infringements (between 26,9 and 36,4 million euros) and the willingness of small users to pay for this (between 1,4 and 1,9 million euros). According to focus group discussions conducted for the study, this aligns with the sentiment of photographers, who report feeling little appreciation for their profession (Blaker et al. 2025).
Survey research into the impact of generative AI on the cultural labor market (Struijke 2025) shows that visual artists are often concerned about AI and their future. 67 percent of visual artists (n=77) believe that employment in their profession or in the visual arts sector will decrease within five years due to GenAI. 90 percent of all respondents from the entire cultural and creative sector (n=613) are concerned about the use of copyrighted material to train AI models, and over 40 percent are therefore taking protective measures, such as a AI Opt-Out or contractual provisions or conditions regarding their work (Ibid.). These concerns also became apparent when auction house Christie's opened an auction of 'augmented intelligence' artworks in early 2025. A group of artists protested against this because the AI models used for the artworks had been trained using existing art, without the permission of the creators (Woolthuis 2025). Conversely, AI is increasingly being used by artists as a tool in the work process. Examples of this are provided on the Design page, which could also apply to visual artists to a greater or lesser extent.
Signals from various cultural domains further indicate that there are limits to the use of digital means to reach the public. For instance, during the COVID-19 pandemic, an art buyer's first interaction with a work of art often took place on location, rather than online (NGA 2022). International online art sales have also clearly declined since the COVID-19 years (McAndrew 2025).
Furthermore, in 2024, an average of 39 percent of the collection of Dutch art museums was accessible to the public online, and 73 percent of the collection had been digitized. These percentages are higher for art museums than for other types of museums (CBS 2025a).
Photography
With the advent of the smartphone, photography has become a ubiquitous medium, penetrating every capillary of society. It brings us news, illustrates texts, tells stories in magazines and books, and sells products and services (Prüst 2025). Photography is not easily defined because it has many forms and occurs within a large number of cultural disciplines. It exists in both the domain of culture and the domain of media and the creative industry, yet can also flow into one another within these domains (Prüst 2025). Photography has its own in the Netherlands
Call for recognition
Despite this intrinsic, social, and economic value, photography is not recognized as an independent discipline within the Dutch cultural system. Decades ago, it was decided to classify photography under the visual arts in the national subsidy system (Kruijt 2022). Thus, the Raad voor Cultuur for example, there is no separate sector advice for photography, and since 2021, no photography institutions are funded by the BIS (basic cultural infrastructure).
The presence of photography in grant practice
All this raises the question of exactly what financial support photography does and does not receive from the central government. Research by De Volkskrant (Kruijt 2022) shows that in 2022, photography received a total of 5,2 million euros in subsidies from the Ministry of Education, Culture and Science budget. Of this, approximately 2,4 million euros was funded via the Mondriaan Fund (Ibid.). However, in the 2025-2028 cultural plan period, photography institutions are once again missing from the
Lack of data and monitoring
There is little data available on the photography sector, and the data that is available is not brought together in a central location. Supported by the photography sector, Marc Prüst therefore launched a in 2025 explores from the photography sector. This study maps out the available data on, among other things, professional practice, cash flows, education, leisure activities and institutions within (cultural) photography. It is a relevant first inventory of the photography sector in figures. However, there is still a lack of multi-year and reliable sources that portray photography as an independently defined sector. The study therefore calls on the photography sector itself to structurally and jointly monitor data, so that they can form the basis for a better anchoring of photography in the Dutch cultural system (Prüst 2025).
The CBS has figures available on the industry PhotographyHowever, this does not specify photographers who work as artists. For example: an artist who uses photography as a (primarily) medium and registers as a visual artist in the Trade Register appears in the figures as a visual artist, while in practice they are viewed as a photographer. Incidentally, the same potential overlap applies to designers and visual artists. Furthermore, as mentioned earlier, photography occurs within a large number of (cultural) disciplines. It is therefore difficult to grasp the size of photography as a sector at a glance. The CBS figures below do provide a clear overview of the number of establishments, the number of people working there, and how they are distributed across the country.
Number of Photography Companies 2010-2025
Number of Photography branches by company size 2026 Q1
Number of Photography branches per province, 2025
These figures from Statistics Netherlands (CBS) show that the number of photography businesses has experienced a continuous increase over the past 15 years, and that the number has more than doubled during that time. This is a striking development considering that photography also became accessible to everyone via smartphones during that period. The figures also show that almost all photographers work as freelancers: the group of photography establishments with one employee is by far the largest. In the study by Prüst (2025), a further distinction is made between full-time and part-time jobs in photography. By far the majority of photographers work in North and South Holland, followed by North Brabant and Gelderland.
What else do we want to know about photography?
While industry associations in other domains systematically collect and make accessible data regarding their members, a comparable information structure is still lacking within photography. Consider data on professional practice (including the proportion of independent photographers), supply, audience reach, subsidy flows, and interconnectedness with other domains such as media and design. Data from Statistics Netherlands (CBS) also cannot yet be sufficiently broken down. Detailed data is important to gain a better picture of photography. Through the Culture Monitor, we will continue to monitor developments in the sector and make the available data visible. We observe – in line with the advice of the Raad voor Cultuur – that the current system of data collection and policy is not always accessible to all forms of culture. This applies not only to photography, but also to domains such as hip-hop, games and digital culture, which often fall between the cracks (see also Raad voor Cultuur 2024b, 86). In consultation with the field, we want to continue working in the Culture Monitor on better visibility and recognition of the breadth of culture.
What else do we want to know about the field of Visual Arts?
Data collection
To gain a complete picture of the visual arts sector chain, more unambiguous figures are needed. For instance, there is a lack of multi-year figures on contemporary visual arts institutions: ideally, data regarding the financial flows, activities, and staff of these institutions, among other things, should be collected in Museana or a similar system via De Zaak Nu. Figures on post-academic institutions are also only minimally available. Furthermore, the sector would benefit from having a better numerical overview of incubators and studios, at both regional and national levels. More comparable figures regarding staff at different types of visual arts institutions would also be valuable. The currently available figures use many different definitions of visual arts and the types of institutions within the chain. Ideally, these definitions should be better aligned so that different data sources can be compared.
Space for new makers and talent development
High real estate prices in urban areas and significant inequality within the visual arts domain have for years had a negative impact on the space available for new makers (Kraaijeveld 2019). This barrier remains relevant and does not appear likely to change in the coming years (Schmidt 2023). Various institutions indicate observing an aging workforce. Are there sufficient facilities for new Dutch artists, galleries, and institutions?
To gain more insight into this development, it is important to take a closer look at the various organizational forms that have emerged in the domain in recent years. For instance, makers appear to be joining forces increasingly often to combine their strengths – consider, for instance, collaborations centered on creative incubators, but also artist collectives (Smallenburg 2021). What does the rise of collaborative partnerships say about the position of the individual maker in the labor market? What are the possibilities for mixing funding models within a collaboration? And to what extent is collaboration encouraged by educational institutions?
Another issue related to the aging of the visual arts sector concerns the stability of financial flows. Several institutions point out that there is little room within the current subsidy system for the sustainable development of young talent. There is still a lack of an instrument to structurally measure the impact of subsidies and other facilities on talent development in a multi-year manner. What is happening in the studios of subsidized makers? Which young institutions and makers are throwing in the towel – and why? And which young institutions and makers are successful?
Digitalization and AI
Finally, this analysis reveals that the major trends within the visual arts domain—an unstable and unequal labor market, digitalization, and an increasing demand for greater diversity and inclusion—remain relevant. What is the impact of the further expansion of digital possibilities and the differences arising therefrom between larger and smaller museums? To what extent do political shifts determine the daily practice of makers? Additionally, the integration of artificial intelligence (AI) raises many questions. Is AI a threat to creativity and copyright, or does it offer opportunities to innovate art?
It therefore remains important to continue monitoring developments in the visual arts, with attention to the needs of the field.
Would you like to know more about the Visual Arts domain?
View more data about the Visual Arts domain in the Dashboard of the Culture Monitor.
More literature about the Visual Arts domain can be found in the Knowledge base of the Boekman Foundation.
Sources
Numbers
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Justification text and image
Editorial noteThe current version of the page was reviewed by Astrid Schumacher (De Zaak Nu) and Angelique Spaninks (De Zaak Nu, MU Hybrid Arthouse). The previous version (2024), which is still partially present in the current page, was reviewed by Wouter Koelman (Mondriaan Fonds) and Henk Vinken (HTH Research).
Graphics and design: Exhibition Habitat Multiform / Photography: Lisa Maatjens.