A decade ago, making it as an artist meant playing by the rules. You needed a gallery – one that curates exhibitions, cultivates relationships with collectors and secures institutional recognition. The artist made the work; the gallery handled the deals, providing the foundation for long-term artistic market growth.It was a well-oiled system, and as long as you played along, it played along with you.
Not anymore.
In 2025, artists aren’t waiting for a gallery’s blessing. They’re carving their own paths, signing with talent agencies that offer something the old model never did: full-service career management - brand collaborations, licensing deals, and digital-first sales strategies. Instead of relying solely on collectors and institutions, they’re negotiating with fashion houses, producing limited-edition drops, and engaging directly with audiences. The playbook has changed, and the art world is still catching up.
This shift isn’t just about bypassing traditional gatekeepers; it’s about artists taking control. The fine art market, long sustained by collectors, has been shifting its focus to living artists who need revenue beyond sporadic sales. Digital platforms like Instagram and Artsy have given them direct access to audiences, while brand partnerships, once whispered about in hushed tones, are now strategic career moves. Some collaborations are embraced, and others spark controversy, but there’s no denying that art is no longer confined to white-walled galleries. It’s appearing on sneakers, in fashion campaigns, and across digital platforms, blurring the lines between high culture and mass appeal. The debate over art and commerce isn’t new, but the scale and sophistication of these collaborations are rewriting the rules.
Few have mastered this balance as well as Takashi Murakami. His company, Kaikai Kiki, is more than just a studio - it’s a commercial empire, forging partnerships with companies like Uniqlo, Hublot and Louis Vuitton. Their first LV collaboration back in 2003 generated over $300 million in sales in its first year1. Murakami doesn’t wait for galleries to dictate his value; he creates his own market, proving that contemporary artists can thrive outside the traditional systems.
Others include Amokao Boafo, whose Dior Men collaborations extend his reach beyond the collector class to luxury fashion, exemplifying a hybrid approach between balancing traditional credibility with Gagosian and commercial expansion with UTA Fine Arts.
Similarly, David Aiu Servan-Schreiber, represented by MTArt Agency, saw a significant rise in collector interest after his painting Coral Moon appeared in Netflix’s Emily in Paris, arranged by his agency. Working with MTArt played a crucial role in elevating his market, with his prices increasing around 500% over the years, from $3,900 to $25,0002, reflecting the impact of strategic exposure and commercial placements.
Talent agencies aren’t here to replace galleries though, at least not yet. As Max Teicher, a former Gagosian staffer and founder of 291 Agency, puts it, their rise isn’t about fixing a broken system but responding to a shifting one. “The last thing I am is an art dealer. [...] Our business is a byproduct of the art world’s success.3”
Still, agencies don’t offer everything. Despite their efforts in brand collaborations for expanded visibility, galleries remain the gatekeepers of institutional relationships. Museums, biennials, and major exhibitions still turn to dealers as tastemakers. While agencies provide new revenue streams, they don’t yet match the long-term market support that galleries offer. The traditional model is evolving, and those who can navigate both institutional credibility and commercial opportunity will define the future of the art market. The art world isn’t a one-size-fits-all landscape anymore. The most forward-thinking artists will embrace a hybrid model, leveraging the strengths of galleries, agencies, and direct-to-audience platforms to build careers on their own terms.
1'Shanghai Queues for Louis Vuitton x Takashi Murakami,'Jing Daily, 2024.
2 'How Emily in Paris Transformed This French Artist’s Fortunes,' Artnet News, October 2024.
3 Teicher, Max.Interview with ArtNews, 'The Artist’s Agent: The Latest Addition to the Art World,' September 2024.
Cover image credit: guyhepner.com
