Art Again & Again:
Sustainability and the Secondary Art Market

The art market is commonly associated with the pursuit of new works by exclusive artists. The buzz created around the hottest emerging artists with their cultural capital and influence drives considerable consumption in the art world. 

Few figures encapsulate the paradox of art and consumption better than Andy Warhol. His works critique consumer culture while simultaneously existing within it, challenging the relationship between artistic value and mass production. Warhol’s iconic pieces, such as his Campbell’s Soup Cans, highlight the commodification of art, blurring the lines between high art and commercial goods. This tension is further magnified in the practices of artists like Damien Hirst and Jeff Koons, who, while critiquing capitalism, have become synonymous with the over-commodification they oppose. Their high-volume productions raises pressing questions about the environmental cost of art-making and the broader art market’s contribution to mass consumption.

Like the commodities he drew inspiration from, Warhol fashioned himself as a commercial product. He worked out of a studio he called the “Factory,” employed an “assembly-line” technique, and his very persona seemed designed as a product for public consumption: plastic, image driven, devoid of a “narrative sense.”

Environmental Impact of the Art World in Numbers

There are very few studies on the environmental impact of the art world, which is understandable considering that the industry’s impact is a relatively small one compared to major polluting industries like aviation or manufacturing. However, there has been growing scrutiny over the art world’s excesses, in particular, the industry’s over-commodification of art.

To be clear, the art industry’s carbon footprint is substantial. The global art sector is estimated to generate 70 million metric tons of carbon dioxide equivalent per year [1], with travel, logistics, and the energy demands of galleries and exhibitions contributing significantly to this figure. According to a 2021 report by Julie's Bicycle [2], 74% of the sector’s emissions stems from visitor travel—underscoring the environmental cost not just of creating art, but of experiencing it. The art auction market contributes significantly to transportation-related carbon emissions. Christie's alone emitted 33,743 cubic tonnes of carbon and other greenhouse gases in 2022, this is roughly similar to the yearly emissions from 7,300 household automobiles [3].

Sustainability Through Secondary (Art) Markets

As our environment continues to suffer from climate change, it is imperative that we take every possible action to mitigate its effects, which is why the art industry is not exempt from this responsibility.

Typically, sustainability in art centres around changing the way art material is sourced and how art is produced—so-called “sustainable art” [4]. At Art Again, we aim to broaden this dialogue by promoting the secondary market model to alter consumer behaviour in ways that can bring about an even greater difference for the environment.

The secondary market is a proven model that can reshape consumption patterns and reduce the industry’s environmental footprint. For nearly two decades, the fashion industry has effectively embraced secondhand markets to curb overproduction and waste. For example, TheRealReal, a leader in fashion resale, has saved 76,499 metric tons of carbon and 4.16 billion litres of water through the sale of nearly 36 million items​—and they’ve achieved this in style: as the world's largest marketplace for authenticated luxury resale items, TheRealReal is undeniably the go-to destination for fashion aficionados looking for affordable luxury.

It is as the home-grown (Singapore) GOAT of secondary marketplaces puts it, secondhand is fast becoming the first choice (we’re referring, of course, to Carousell):

Secondhand luxury goods market growth is 1.3x that of new luxury.

The growth rate of secondary market for hard luxury per annum eclipses the growth of primary market (12% for secondary market compared to 3% for primary market).

1/3 of the global luxury watch sales is accounted for by secondhand sales, despite a relatively late start to the industry (secondhand platforms for luxury watches were only really meaningfully introduced a decade ago).

62% of secondhand luxury is consumed by Millennials and Gen Z, marking a change in the way consumption will look like in the future.

55% of Millennials and Gen Z will only buy from sustainable brands and retailers.

And so the challenge is clear: can Art Again help significantly lessen the art world’s environmental impact whilst continuing to offer value (cultural, sentimental, emotional, aesthetic, monetary value) to its collectors?

Typically an art collector's worth is measured against their ability to spot and champion new works and artists—to be a connoisseur is to be able to convince others and lead the charge in discovering and validating the next big name in the art world.

We posit a new metric for measuring the value of collectors today. Those who uncover artworks from private collections play the role of stewards of both culture and the environment. It takes an astute eye, and a level of commitment and refinement, to sift through the trillions of dollars’ worth of art currently in the secondary market to find the pieces that will resonate with many.

By buying and selling pre-owned art, collectors ensure that these works are not forgotten or relegated to storage, but remain part of an ongoing cultural exchange. This approach fosters a more responsible art market, where each transaction benefits not only the art community but also the planet. Collectors in the secondary market are not merely consumers—they actively contribute to reducing waste and preserving resources.

This is why we love our users. We take the time to onboard each and every seller because we know they get it—I can’t tell you the number of times a seller has told us that they’ve thought about building something like Art Again.

The art market must adapt to growing environmental concerns, and a secondary marketplace like Art Again could be the very solution we need.

By effectively reselling pre-owned art, we diversify demand and reduce the reliance on resources needed to produce new pieces, minimising waste. A key draw for the secondary market is the finite nature of art, particularly works by deceased artists. These pieces are historically significant and irreplaceable, collecting pre-owned art is not just an investment but a way to keep cultural history alive. The rarity of these works ensures their enduring value, making recirculation a meaningful contribution to both cultural preservation and environmental sustainability.

Platforms like Art Again are at the forefront of this shift, championing a circular art economy where each sale is a step toward a more sustainable future.

[1] As reported in The Japan Times article The Art World’s Big Planetary Problem.

[2] Julie’s Bicycle is a not-for-profit which mobilises the arts and culture to take action on the climate, nature and justice crisis. It was founded by the music industry in 2007 and now working across the arts and culture, JB has partnered with over 2000 organisations in the UK and internationally.

Icelandic Danish multimedia artist Olafur Eliasson, perhaps the most visible artist globally who’s taken up the sustainability mantle, is known to work closely with Julie’s Bicycle to track and publish emissions from his own works.

[3] Artprice outlines how the art world is recognising its environmental impact and exploring sustainable practices across auctions, artists' work, and the online market. Read more about Christie’s efforts to reduce its environmental impact here.

[4] As an example, here’s an article by The Artling listing 10 creatives making sustainable art.

Written by Cheryl Ong & Milon
Art Again © 2024

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