Chap-2

Arts Marketing
 Arts Marketing (3 Periods)
• Education of audiences and organizational
awareness of the arts
• Application of marketing concepts to non-
profit arts organizations
• Discovering new economic realities and new
view of audiences
 Arts Marketing (2 Approaches)
• Managerial Tool & Integrated Management
Process
• Integral element of artistic production
 Arts World or Cultural Industries
• All the people whose activities are necessary to the
production of the characteristics is in art world
• Cultural actors are producers (artists), consumers
(public) and intermediaries (individuals and
organizations involved in communication and
distribution of art)
• Arts are nowadays widely perceived as an industry, with
all its economic, cultural and political consequences.
• Arts marketing is usually linked to the creative and
cultural industries (CCIs).
• Governments are spreading this new terminology as part of their
projects of inner city or wider economic redevelopment.
• Creative places the emphasis on the production side, on
processes of the imagination, of origination, of creative
production.
• Cultural places the emphasis on the offering, the idea that the
output of the industry has some cultural value for somebody.
• The word industries suggests mass production along factory lines,
and there is a sign here of the tension between art and industry.
• creative industries includes those that create copyright, including
advertising, computer software, design, photography, film, video,
performing arts, music , publishing, radio and TV, and video
games, design industries and those dealing in patents and
trademark.
• Commercial considerations in the production of art may
give artists more freedom of expression than employer-
patronage or public subsidy
• Commerce also makes art more communicative and
accessible to audiences and therefore establishes a bridge
between artists and their public.
• Non-profit arts organizations, whose role is to re-distribute
any public funding they may receive.
• They are often charged with preserving valuable works of
art and encouraging the most talented artists, while at the
same time governments and donors expect them to
broaden the demographics of their audiences, and to
address an aesthetic imperative in society.
 Art Project
• In any art project, there may be a wide range of roles,
including producer, director, artist, consumer, critic, investor,
regulator, cultural intermediary, business intermediary,
policy intermediary, owner, administrator, trustee,
beneficiary, archivist, and . . . marketer.
• The question is what roles can be defined as marketing roles.
• In a narrow sense, promotion/publicity, and selling products
are marketing roles.
• In a wider sense, marketing would like to claim that every
role contributes something to marketing, e.g. a singer
performing at a concert is marketing himself.
 Production of Art
• ‘Art is sold like a commodity but produced like a religious calling,
as an object of intense personal expression ’
• This intense relationship between artists and their work lies in
the heart of the art world, and therefore must be the centre of
attention for arts marketers.
• Brand managers ‘actively engaged in developing, nurturing and
promoting themselves as recognizable “products” in the business
of art ’.
• Marketers can actually learn from artists how to ‘use consumer
culture themes and images ’, ‘create[. . .] distinctive products,
segment[. . .] the market ’, extend brands or ‘control[. . .]
distribution and foster[. . .] exclusivity ’ (ibid.).
 Consumption of Art
• All forms of cultural and leisure activities are
positive manifestations of the quality of
community life.
• Importance of the arts for a society,
particularly their role in creating and defining
our culture
• Communities with better quality of life
produce more works of art.
• Role of emotion falls in two general attitudes –
approach and avoidance – determined by the
three so-called PAD dimensions:
■ pleasure (positive versus negative character of
a feeling),
■ arousal (strength of a feeling), and
■ dominance (lever of freedom associated with
a feeling).
• Four factors need motivation to attend:
■ cultural (e.g. knowledge),
■ symbolic (e.g. using the arts as a source of
meaning for communicating personality),
■ social (e.g. building social relationships
through consumption of the arts), and
■ emotional.
• Art fans cluster around the objects of their affections and form knowledge
and distance hierarchies as they vie for cultural capital. They will sacrifice
significant amounts of leisure time and money to consume the object of their
fandom.
• They are in search of profound and transformative experiences, sensory
pleasures, and moments of intimacy with the artist.
• They form passionate attachments and loyalties to artists. They are active,
agentic, and use their fantasies and feelings in the consumption of art
products.
• Art is a symbolic resource for the construction of identities, images,
experiences and relationships. Arts consumers do their consumption both
• online and offline. Their passionate identification, frequency of attendance
or purchase, and the size of their groups works to the benefit of the artist’s
income.
• However, tensions between fans and artists can lead to accusations of artists
selling out, moving too far ahead of the fans and leaving them
behind, or getting above themselves.
 Art Brands
• From a culturalist point of view, brands may be read as
signs which are exchanged or meanings which are
constructed through the dialogue between and
amongst producers, consumers and other stakeholders
• Global culture industry works through brands
• An art brand in terms of a tangible art product can be
assessed for its consumer benefits, and also for its
symbolic positioning
• In some art projects, the different dimensions of
branding can be complex, for ex Film
 Art Marketer
• An art marketer, however, needs to be a situationist, in the
sense that s/he takes account of this wide range of factors
when formulating arts marketing strategy.
These include the role of the organization or artist in the
relevant value chain; the artistic conventions and ideologies
which historically apply there; the rate, nature and degree of
artistic innovation; the sources of funding which are available
and the requirements and priorities which they bring with
them; the location of the marketer in the art project structure
and influence of government policy, technological
developments, the media and the economy, and so on.