The digital art market as a phenomenon of post-industrial culture.

This article is devoted to the study of the phenomenon of the digital art market as a socio-cultural institution emerging in the context of post-industrial culture. It focuses on the processes of transformation of the mechanisms of artistic production, distribution, and consumption of artworks under the influence of digital technologies. The structural features of digital trade are examined (including online auctions, virtual galleries, and marketplaces), as well as new forms of interaction among the subjects of the art market – artists, dealers, collectors, and institutions. Special attention is paid to changes in the motivations of art market participants, the implementation of innovative technologies (blockchain, artificial intelligence, virtual reality), and the problems of verifying authenticity and ensuring transaction transparency. The digital art market is viewed not only as an economic mechanism but also as a specific form of cultural communication that reflects shifts in value orientations of post-industrial society. The work employs an interdisciplinary cultural approach, including structural-functional analysis, elements of economic sociology, and comparative methods to study digital transformations in the art market system. The scientific novelty of the research lies in the consideration of the digital art market as a complex cultural phenomenon formed at the intersection of economic, technological, and socio-cultural processes of post-industrial society. A comprehensive cultural analysis of the digital art market as an independent phenomenon of post-industrial society has been carried out. The author systematizes for the first time the key areas of influence of digital technologies (blockchain, AI, VR) on the functioning of the art industry and describes the transformation of the motivations of art market participants. The research reveals that digitalization eliminates information asymmetry, expands access to cultural goods, and contributes to the formation of a hybrid model of the art market's existence, combining online and offline formats. It is concluded that the digital art market fulfills not only economic but also communicative, identificational, and educational functions, reflecting shifts in the structure of consumption and status practices in post-industrial culture.