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In an ever-evolving art world, securing the right media exposure can make or break an artist, gallery, or creative initiative. As digital platforms reshape the landscape and new trends emerge, mastering the art of public relations has never been more crucial. To uncover the secrets of a winning art PR campaign in 2025, we spoke with Christina Ioannou, an internationally recognized Art PR expert. With a career spanning top agencies and major institutions like Art Basel, Christina shares her journey, insights into global art trends, and expert advice on how artists and businesses can craft compelling narratives, engage the media, and stand out in a crowded market.

Can you tell us about your background and what led you to specialize in PR for the art world?

I grew up in Athens, Greece, where culture shapes our reality and informs our decisions a lot, even unconsciously, as Greeks. Growing up, I was exposed to cultural events and settings thanks to the great education I received. I remember my school took us on a museum visit per month. That was when I started feeling that those spaces are so powerful, and the whole museum immersion experience was fascinating to me: everything was quieter there, stepping into history and witnessing creative approaches of the past, all while trying to relate, in the silence of the exhibition. It was almost like a meditative experience to me. I am deeply interested in provenance and cultural diversity, and this has shaped my career as well, as I supported international cultural initiatives where people had a chance to explore and understand different cultures through art.

While I was studying Business Communications, I had the chance to work for Gagosian in Athens, and that’s when all my horizons widely opened. A few of the Gagosian artists were Goldsmiths graduates, hence I was motivated to join the MA in Arts Administration and Cultural Policy, where I mainly focused on cultural initiative implementation at the government level. Being exposed to the cultural diversity of London and the opportunities there, I was keen to combine my communications experience and my art business expertise. I was lucky to then work with leading Arts PR agencies such as Pickles PR, Brunswick Arts, KTW, and later with Art Basel as Senior Media Relations Manager.

I founded CCIcomms in order to support young businesses with a more diverse profile to look after their PR positioning and branding—from galleries to individual artists and fairs to public art festivals. We recently started serving other sectors as well, such as tech, lifestyle, and design, and we were recently voted the best PR agency in London for 2025/2026 by Prestige Awards for supporting the growth of SMEs.

What are the most exotic or unique works of art you have worked with?

You hit a special spot there—exotic art is what I enjoy the most! I had a chance to work for SP-Arte and promote Brazilian art, immersing myself in the art of contemporary Brazilian artists such as Ernesto Neto, but also more historical ones such as Tarsila do Amaral. I think Central and Latin America are such unique arts hubs thanks to their cultural diversity and vibrancy, and artists there should be supported as much as possible. I had a special encounter working with Mexican artist Eduardo Terrazas, an artist and architect who is celebrated for his substantial contributions to the field of art, not just in Mexico, but globally. I could see in real life how passionate he was about his craft, following his inspiration.

What excites you the most about working in art marketing today?

The potential to enhance the physical with the digital in a way that is ethical, interesting, and multidimensional and serves a higher purpose, not just sales. I also love that there is more power in artists’ hands; they have more choices to work independently and to position their own work and shape their own narratives. The growth of art activism interests me a lot.

North America, Europe, Asia, the Middle East—perhaps Africa or South America—where is art making the biggest moves right now from your perspective?

Certainly in Latin America, as mentioned above, but surely in Africa too. We see many African artists being recognized or loved for their work abroad, gaining momentum, and reshaping contemporary cultural identity, such as my favorite female queer artist, Sola Olulode. On the other hand, I do think that Eastern European art is so promising and current as well as less explored; David Kovats Gallery is doing some amazing work in giving a platform to Eastern European artists in the UK and internationally.

What are the top art trends you are seeing, and how can artists and businesses capitalize on them?

The art world is evolving with key trends like AI-generated and digital art, sustainability-focused creations, immersive experiences (AR/VR), and more. Limited-edition drops and collectible releases are also driving engagement. I think Avant-Arte’s model is unique in that perspective. Also, artists can capitalize by embracing digital tools, sustainability, and storytelling—by taking the lead in promoting their work in a way that speaks to them and directly connects with their audiences. The opportunities are endless due to the plethora of tools available: they should test and see what serves them best. In the same way, businesses can collaborate with artists to create meaningful brand experiences, immersive installations, and exclusive art-driven campaigns. Long gone are the days when galleries looked at exclusive partnerships or representations. Gallery models are changing, promoting transparency and genuine career support for their artists. I see that there is also further space for e-commerce-related art initiatives.

How have digital media and social platforms changed the way art businesses approach PR?

Very interesting question. Brands today know they are media platforms themselves and have many ways to talk to their audiences. They do not necessarily need to be in traditional press, although it helps in terms of authority building. If the ultimate purpose is sales, then you get way more data and user information by focusing on brand-owned communication channels or by working with influencers, for example—if it comes to a product. You still need a communications strategy to refine messaging and make sure you are participating in wider and relevant discussions. For public or government-led initiatives where there is no commercial angle, traditional media are more relevant. In any case, PR still needs to play a key role in a business’s marketing efforts, now that the media landscape has become so complex to navigate. At the end of the day, our job is to help brands and leaders understand what good exposure means and how to get there.

What are some of the biggest mistakes art businesses make when trying to gain exposure?

What I have noticed is that art businesses tend to rush PR campaigns without allowing the important teaser phase to happen, in a way that they “demand” press coverage when their show or program opens without respecting media deadlines. It just doesn’t work unless it’s a groundbreaking show. Especially if you are a young art business, you have to take time to cultivate media relationships to be in their good books. What that means for businesses is that they have to secure their artists, venues, and programs well in advance.

What are the key elements of a successful art PR campaign in 2025?

Multi-channel engagement is key. Almost all media publications have social media, and sometimes these followers are different from their readers, so it is important to try and amplify opportunities for exposure with every platform you engage with. Also, identifying specific newsworthy angles and points of innovation is always key when it comes to success with news media. And finally, create and own your data or intellectual property—this can be more powerful than you think. If brands can become sources of valuable information for their niche, then they not only gain exposure but reputation as well. Take the example of Art Basel’s art market report, which comes out every year—it’s in the news, but it’s also their own research, and it will always be referenced wherever it is published.

How important is storytelling in art promotion, and what are some effective ways to craft a compelling narrative?

Connecting to current and trending themes, whether socio-political or business-related, always counts. Essentially, stories need to inspire and motivate people, and they need to relate to them as well. To me, storytelling is the opposite of straightforward promotional advertising: you make your personal story, problem or solution, inspiration or pain, known to your audience in a way that they can genuinely connect with and remember.

What role do collaborations and partnerships play in an effective PR strategy?

The quality of your brand partnerships speaks volumes about aligned values, vision, and community. I think that whether we are referring to a media or a corporate partnership, what is important is to choose partners wisely and make sure you benefit from mutual exposure, setting a clear and shared strategy for promotion.

What advice would you give to artists or galleries looking to get featured in major art publications?

To the less established ones, I would say that starting from smaller blogs or podcasts is actually the way to go, and as they build their portfolio and media exposure confidence, bigger publications will come. In the end, if your story is innovative and groundbreaking enough, you might make it to the front pages or top titles, but how can you stay there? Even if you get that one piece, how can you stay relevant after that? For the bigger players, I think diversifying in terms of media platforms and messaging is key.

How can emerging artists and smaller galleries compete for media attention in a crowded space?

By doing excellent work with their own content channels—and I do not mean that they have to be digital marketers. But they have to engage in community building (follow, like, comment, and promote interesting things in their network to stay in the know), while also presenting authentic stories, behind-the-scenes glimpses, studio visits, and giving ‘access’ to their world by making everything feel less promotional. Understand and read your audience, and create content that speaks to them.

What’s the best way to approach influencers and journalists to secure coverage?

I would say that you need to follow a standard format to make sure the message comes across correctly and the proposal is clear. Showing genuine interest in the content creator’s or journalist’s approach and providing proof that you know what they write or post about is the first important step to connecting with them in a non-transactional way. Then, having something tangible to offer them—from a product to a story to an event or speaker access—rather than just words, will take you further.

What social media platforms should art businesses prioritize in 2025?

There are many variables here, from where the business operates to how it operates and where its audience is. For a gallery or program that focuses on modern art, I think it’s Instagram, but for contemporary or ultra-contemporary art, it has to be TikTok. Reels and videos are the way to go because they boost the algorithms, driving more followers and engagement to your pages. Instagram is more of a millennial tool, whereas TikTok is for Gen Z—take your pick! One thing is for sure: LinkedIn remains the most relevant platform when it comes to profile-raising for founders or senior leaders, and any content presented there should be more business- and strategy-oriented.

How do you see the future of art PR evolving over the next few years?

With the rise of artificial intelligence and the speed at which technology is reshaping the business world, I think PR professionals will benefit a lot from tools such as ChatGPT, Figma, or others. But it is important to be critical about how to use those tools and their generated content and to be sophisticated with the prompts. I do not see AI as a threat to ‘taking our jobs’ but quite the opposite—there will now be a need for more authentic high-level storytelling and lobbying, and thankfully, the relationship-building aspect, which is an essential part of our work, cannot yet be done by robots. We are moving into a higher-intelligence era!

Can you share an example of an outstanding PR campaign that truly made an impact?

The first thing that comes to mind is the interesting campaign we worked on with Filthy Fox Auction Club, whom you have interviewed before. We had an interesting connection, and I could immediately see the potential of the project. I was personally fascinated by the work Paula and Ala do to challenge traditional auction event models, but also to give a platform for young, promising artists and collectors to connect in a more informal and festive way. I also love their branding—less conventional and more entertaining—which is so much needed in the art world. No surprise they made it to the Financial Times!

What sacrifices have you had to make to become successful in this business?

I think everything serves a purpose, and even though I saw some things as sacrifices in the past when it comes to work, in the end, all these things build you up as you mature in business. You become resilient through your experiences, persistence, and efforts, and you gain confidence by having people appreciate your work and wish to partner with you. I had to step out of my comfort zone many times, but that’s the only way to find your own path to follow!

Are there any books on art, media, or PR that you would recommend to our readers?

This question takes me back to the first-ever art-world book I read, Seven Days in the Art World by Sarah Thornton. It will always be a good choice for everyone who is not in the art world but wants to understand it better. Other than that, I currently take inspiration from the Talk Art podcast and The Diary of a CEO.

Also Read

Interview with Prof. Megan Heber on SMU’s Master of Management in International Arts Management (MMIAM) Program

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