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Thematische Bibliographien / Art Marketing / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Art Marketing“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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1

Koivisto, Elina, und Pekka Mattila. „MARKETING FASHION AS ART OR THE ART OF MARKETING FASHION?“ Global Fashion Management Conference 2019 (11.07.2019): 677. http://dx.doi.org/10.15444/gfmc2019.06.07.02.

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2

Sevastyanov, Aleksandr Nikitich. „Modern art market: art, economics, marketing“. Uchenyy Sovet (Academic Council), Nr. 1 (01.01.2021): 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.

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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single information base for all its participants. The wide publicity of the auction results forms the fashion in art, raises the prestige of a particular direction, and makes it the main one. The material of the article is of interest in the disciplines "History of Art" and "Modern Art Market".

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Jyrämä, Annukka, und Anne Äyväri. „Marketing contemporary visual art“. Marketing Intelligence & Planning 28, Nr. 6 (21.09.2010): 723–35. http://dx.doi.org/10.1108/02634501011078129.

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4

Tazov, P. Yu. „Marketing of art spaces: essence, characteristics, prospects“. Vestnik Universiteta, Nr. 2 (21.03.2024): 31–40. http://dx.doi.org/10.26425/1816-4277-2024-2-31-40.

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The article studies the peculiarities of promoting art spaces as significant social and cultural objects that act as a locomotive for territorial development, attracting tourists and involving the population in cultural activities. Theoretical approaches to the marketing of art objects and art industry have been analyzed. The key functions of art spaces have been studied. It is proved that art spaces marketing has a more complex structure due to the promotion object multifunctionality than art objects marketing. The author’s art space marketing communication model has been proposed. It is based on the art spaces functions for visitors, sponsors, partners, and government agencies. This model allows differentiating targeted marketing communications for each audience, based on the functions and needs of target groups and partners. Unlike art marketing, art spaces marketing implies a complex communication with target audiences, which includes historical social and cultural, territorial, tourist, socialization, and other aspects of art space. The article substantiates the position that art space cannot be only a commercial project, but due to its social and cultural aspects should perform socialization tasks for young people. Hence, there is a need for legal regulation of art spaces in the public-private partnership framework. This requirement introduces its own adjustments in the marketing communications construction.

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Kawakita, Makiko, und Yasushi Sonobe. „Art Place as Media:“. Japan Marketing Journal 42, Nr. 4 (31.03.2023): 27–38. http://dx.doi.org/10.7222/marketing.2023.019.

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6

Akimov, Dmytro. „Segmentation of art market in the fine art’ marketing“. Collection of scientific works “Notes on Art Criticism”, Nr. 39 (01.09.2021): 27–31. http://dx.doi.org/10.32461/2226-2180.39.2021.238676.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the technology of segmentation of the art market. The article analyzes the algorithms of marketing technologies in the segmentation of the fine arts market. It should be noted that in the marketing of fine arts the technologies of segmentation of art markets and technologies of the positioning of works of art are purposefully and productively used. The segmentation of art markets enables to highly efficient identify and systematize groups of consumers and admirers of works of fine art in accordance with their goals and motivations. The main purpose of the article: analysis of the specifics of the implementation of classical marketing technologies (marketing researches, segmentation of art markets) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. It should be noted that the technology of market segmentation is actively used in the art market in works of museums, galleries, auctions. The technology of market segmentation allows regulating the processes of appearance and satisfaction of demand for works of art and their implementation.

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Akimov, Dmytro. „Marketing researches and promotion works of art in the fine art’s marketing“. Almanac "Culture and Contemporaneity", Nr. 1 (31.08.2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.

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Holbrook, Morris B. „What For Art Thou, Marketing?“ Journal of Customer Behaviour 23, Nr. 1 (20.05.2024): 27–32. http://dx.doi.org/10.1362/147539224x17149185610028.

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9

Samli, A. C., R. C. Hook und J. Nkonge. „The Art and Science of Marketing a Marketing Department“. Journal of Management Education 10, Nr. 2 (01.07.1986): 13–20. http://dx.doi.org/10.1177/105256298801000204.

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Samli, A. Coskun, Ralph C. Hook und Japhet Nkonge. „The Art and Science of Marketing a Marketing Department“. Journal of Marketing Education 10, Nr. 2 (August 1988): 13–20. http://dx.doi.org/10.1177/027347538801000204.

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11

Lee, Su Hyun, und Chang Keun Lee. „Study on the Art Marketing Use of Doodle Art“. Korea Institute of Design Research Society 5, Nr. 1 (30.03.2020): 21–32. http://dx.doi.org/10.46248/kidrs.2020.1.21.

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Tsyrenzhapova, Lidiya Mikhailovna. „MARKETING POLICY OF ART-MANAGEMENT IN THE ART-INDUSTRY“. Вестник Восточно-Сибирского государственного института культуры 176, Nr. 2 (12.07.2019): 138–43. http://dx.doi.org/10.31443/2541-8874-2019-2-10-138-143.

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Gürşen, Aylin Ecem. „Art marketing as an emerging area in an emerging market“. Arts and the Market 10, Nr. 1 (07.03.2020): 34–52. http://dx.doi.org/10.1108/aam-01-2019-0004.

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PurposeIn this study, art is considered as a product subjected to marketing activities. In this context, this study aims to present a conceptual framework covering the research areas related to art marketing, the relation of art product with brand and consumer and how internet technologies can transform the art market. Finally, the situation of art marketing and its progressing process in a developing country and its potential horizons was discussed.Design/methodology/approachThis study uses a literature review to present a conceptual framework about art marketing activities and their potential horizons in an emerging country.FindingsGlobalization, digitalization, democratization of access to art products, art becoming a subject for marketing, open up new horizons for western markets as well as for developing countries. Developing countries constitute a new market segment for the art market. Addressing the changes and the transformations in art market in terms of these markets will provide important opportunities for marketing researchers and practitioners.Originality/valueThis study elaborates the art marketing concept in a developing country. The marketing of art is a subject studied and elaborated mostly in western countries. It is thought that this study is differentiated in terms of addressing these dynamics from a developing country point of view.

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Janoščík, Václav. „Postinternet Marketing: For a Philosophy and Art of Online Marketing“. Acta Informatica Pragensia 3, Nr. 2 (30.12.2014): 192–203. http://dx.doi.org/10.18267/j.aip.47.

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15

Huang, Shiyi. „Research on Marketing Strategies and Trends of Art Co-Branding in the Contemporary Fashion Industry“. Advances in Economics, Management and Political Sciences 55, Nr. 1 (01.12.2023): 7–15. http://dx.doi.org/10.54254/2754-1169/55/20230946.

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Art co-branding is an increasingly huge fashion industry trend with great potential and unknown risks. In this paper, marketing strategies and trends are the main focuses in terms of the art co-branding of fashion brands. The method used includes literature research and two case studies of Louis Vuitton collaborating with Yayoi Kusama and Dior Lady Art, examining their marketing strategies and performances. Increase in product value, maintenance of scarcity, and construction of in-depth customer relationships are the three main reasons contributing to the win-win outcome of art co-branding in the fashion industry. As a result, it is shown that art co-branding can contribute to highlighting the core of fashion brands and greatly increase brand awareness by choosing an artist with a matching concept through various marketing strategies. Art co-branding has the high potential to become widely used by fashion brands and act as an effective method to benefit all fashion brands in the future.

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김호성. „Marketing Strategy Using Interactive Media Art“. Journal of Digital Design 13, Nr. 2 (April 2013): 399–407. http://dx.doi.org/10.17280/jdd.2013.13.2.039.

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17

Wilson, R. Dale, A. B. Blankenship und George Edward Breen. „State of the Art Marketing Research“. Journal of Marketing Research 31, Nr. 4 (November 1994): 575. http://dx.doi.org/10.2307/3151886.

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hOisín, Eamon O. „Art Marketing: Sport on the Sidelines“. Circa, Nr. 71 (1995): 43. http://dx.doi.org/10.2307/25562774.

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19

Patsiaouras, Georgios, Anastasia Veneti und William Green. „Marketing, art and voices of dissent“. Marketing Theory 18, Nr. 1 (14.08.2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.

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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.

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ANKYIAH, FRANCIS. „Mobile Marketing in the Art Industry“. Journal of Social Media Marketing 2, Nr. 2 (27.12.2023): 20–34. http://dx.doi.org/10.33422/jsmm.v2i2.1124.

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The rising prevalence of mobile devices has transformed consumer behaviors and created new opportunities for audience engagement through mobile marketing in the art world. However, there has been limited research on implementing effective mobile strategies for art professionals. This study aimed to systematically review mobile techniques over the past five years based on academic literature and industry reports. It analyzed key mobile marketing campaigns from prominent art institutions focusing on approaches like apps, augmented reality, and location-based services. The literature revealed several important findings about mobile marketing effectiveness. According to Pew Research Center data from 2019, 81% of Americans now own smartphones frequently used for internet access, demonstrating widespread mobile access. Studies of apps found those displaying artist portfolios and enabling ticket purchases had high audience engagement. Augmented reality apps providing interactive experiences attracted more first-time museum visitors than non-users. Location services increased nearby gallery foot traffic up to 35% by capitalizing on proximity. Case studies indicate mobile strategies can significantly boost participation when integrated across digital and physical channels through profiles, ticketing, content, and location promotion to spur visits. As a result, mobile technologies may help arts institutions connect with broader demographics in novel ways. However, usability and data privacy must be addressed. The review concluded that mobile techniques are highly impactful for boosting audience involvement, working best as an omni-channel approach across platforms and interactivity. Adopting established mobile marketing best practices is essential for arts professionals and organizations to thrive in today’s digital landscape and engage wider audiences.

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Dholakia, Ruby Roy, Jingyi Duan und Nikhilesh Dholakia. „Production and marketing of art in China“. Arts and the Market 5, Nr. 1 (05.05.2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.

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Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.

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Rogozińska, Anna. „Marketing Influence on the Art Market Development“. Marketing i Zarządzanie 42 (2016): 253–66. http://dx.doi.org/10.18276/miz.2016.42-18.

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Lehman, Kim, Ian Ronald Fillis und Morgan Miles. „The art of entrepreneurial market creation“. Journal of Research in Marketing and Entrepreneurship 16, Nr. 2 (14.10.2014): 163–82. http://dx.doi.org/10.1108/jrme-09-2013-0024.

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Purpose – The purpose of this paper is to use the case of the Museum of Old and New Art (MONA) in Hobart, Tasmania, to investigate the role of entrepreneurial marketing (EM) in shaping an arts enterprise. It draws on the notion of effectuation and the process of EM in explaining new venture creation and assesses the part played by David Walsh, the entrepreneurial owner/manager. Design/methodology/approach – This case study analysis enables an in-depth appraisal of the impact of EM and effectuation within the growing domain of arts marketing. Findings – The paper offers a glimpse into how creativity and business interact in the creation of new markets. It demonstrates how formal methods of marketing are bypassed in the search for owner/manager constructed versions of situational marketing. In addition, it provides insight into dominance of entrepreneur-centrism vs customer-centrism in entrepreneurship marketing. An additional contribution to knowledge is the use of effectuation to assist in better understanding of the role of EM in the market creation process. Originality/value – The research carried out here builds on a growing body of work adopting the EM lens to better understand arts marketing and new venture creation.

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M. Bayer, Thomas, und John Page. „The ingenious marketing of modern paintings“. Journal of Historical Research in Marketing 6, Nr. 2 (13.05.2014): 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.

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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.

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Pavlovaitė, Ugnė, und Ingrida Griesienė. „Audience Development of an Art Organization in Terms of Relationship Marketing“. Informacijos mokslai 86 (30.12.2019): 98–115. http://dx.doi.org/10.15388/im.2019.86.28.

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The article conceptualizes the audience of art organization, introduces the main art organization audience’s groups and analyzes the concept of relationship marketing in the context of art organizations. Relationship marketing tools are identified as an important instrumentality in order to develop and maintain networks between interested parties (various audience groups). The art industry is perceived as a medium for the implementation of relationship marketing. The theoretical platform model that is developed by art industry organizations is revealed as a universal and widely applicable tool among the biennials of contemporary art. The analysis of academic discourse presents the key groups of relationship marketing as well as dimensions which allows to evaluate the success of maintained networks. Following the features of public sector institutions a noticeable aspect in building relationships is the pursuit of economical benefit. Despite the economical benefits, interested audience groups of art organization are seeking of social benefits. At this point, the main relationship marketing dimensions – trust, commitment, satisfaction – are considered as a valuable measurement of the created platform network that reveals quality. It is concluded that arts organizations use appropriate relationship marketing tools to identify, establish, and maintain long-term relationships with their audience, for which the arts organizations provide additional organizational resources related to communication. The article presents an empirical study of the marketing relations of the biennial from research conducted in 2019 about the development of the biennial of contemporary art as an art platform where relationship marketing, as well as the main art organization audience groups, were presented. Case studies of the biennials of the contemporary art biennales Kaunas Biennial and EVA International were carried out. A qualitative study was chosen in order to empirically test the functioning of the theoretical model of the biennial as an art platform in terms of relationship marketing. Research data were collected using a qualitative (structured-standardized interview) research method. Following the analysis of the scientific literature and the empirical research data, guidelines for the development of an art organizations in terms of audience development were created.

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Essam, Reem. „An Abstraction Theory in Marketing: Examining the Relationship between the Effectiveness of Art and Heritage Marketing Dimensions and Customer Value“. Archives of Business Research 10, Nr. 6 (29.06.2022): 79–114. http://dx.doi.org/10.14738/abr.106.12502.

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This research is attempting to find a new realm contributing to the current marketing practices through proposing a new method of marketing of art and heritage artefacts. This research tries to find a hint of a new angle through marketing practices on the relationship among abstraction, art and heritage marketing and customer value in art museums, galleries and exhibitions in Egypt. This research aims at gaining insight into the abstract marketing themes for a better use of the best marketing practices at museums, illuminating the way for other researchers to establish additional studies that look deeply into the relationships among abstraction theory, art & heritage dimensions and customer value. This research uses a quantitative research design beside a qualitative exploratory study for a clearer overview of the way art museums; galleries and exhibitions customers in Egypt view the provided service, through the use of an in-depth interview. The research develops and tests a conceptual model through quantitative analysis, using a self-administrated questionnaire of eight hundred copies distributed to art and heritage customers at some different art museums; galleries and exhibitions in greater Cairo and Alexandria. 320 questionnaire copies have been collected through a non-probability snowball sampling and convenience sample technique. The statistical analysis for the data, using SPSS and Path Analysis through AMOS have proved that there are positive correlations among the study variables, proving that abstraction has a significant positive impact on art and heritage marketing dimensions and that art and heritage marketing dimensions have a significant positive impact on customer value.

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Newaj, Avinash, und Adjnu Damar-Ladkoo. „Distorted Facets of Marketing Ethics for Alcoholic Beer Marketing“. Studies in Business and Economics 11, Nr. 2 (01.08.2016): 79–96. http://dx.doi.org/10.1515/sbe-2016-0023.

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Abstract Marketing is the art of delivering value whilst ethical marketing is to provide this value through what is morally right. This new era customers are well informed, more knowledgeable, less vulnerable to unethical practices and cannot be easily manipulated by marketers. Many companies are thus, moving towards ethical marketing so as to develop trust among existing and new customers. Strict regulations by the Mauritian government have further forced marketers to act ethically; whereby the advertising of alcoholic beers has been banned. Yet, indirect strategies have been adopted by marketers so as to pave their way in this competitive industry. What are they? Are customers aware about them and are they influenced? Road accidents, social violence and health problems are associated to such malpractice. This study has shed light on the above and measures have been proposed for the benefit of customers, marketers and the government. This study was connected to the ethical theories.

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Garay, Urbi, Eduardo Pérez und Fredy Pulga. „Color intensity variations and art prices: An examination of Latin American art“. Journal of Business Research 147 (August 2022): 158–76. http://dx.doi.org/10.1016/j.jbusres.2022.03.010.

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Grantina, Elina, und Jelena Budanceva. „Incorporating Art Events Into Marketing Activities - Good Practice By European Zoos“. Economics and Culture 20, Nr. 2 (01.12.2023): 12–31. http://dx.doi.org/10.2478/jec-2023-0013.

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Abstract Research purpose. In today's business world and for over a hundred years, art events have been used to develop a brand, promote awareness, and increase the number of customers. Art is a useful tool for a company to promote and advertise its products. As some authors mentioned, arts can enhance the company's image: in marketing and selling, art can brand a company's culture and products; arts can also act as a social connector in the workplace and beyond and in marketing, art can brand a company's culture and products, it helps to further community relations (Anderson, 2017). Companies can use not only art events to attract customers and diversify target audiences but also institutions such as zoos. Attracting visitors through art events is especially important for those zoos that cannot afford rare animal species or special spaces and landscapes. Nowadays, most cultural activities in zoos are done under the educational programs - educational activities provided by zoos not only concern animals, biodiversity and the environment but may have cross-academic roots, like arts, geography, theatre, engineering and technology, physical and mental health, even math (Zareva-Simeonova et al., 2014.) Social media development gives the zoos an excellent opportunity to make these activities visible and allows them to incorporate art, music, crafts, games, and storytelling into the zoo experience. Videos, artistic content and online read-alongs can draw kids and their families into the zoo community long before stepping foot into the zoo. (Softplay, 2023). The most active in attracting visitors with art and culture activities are USA zoos, from the usual placement of art objects in the zoo territory and celebration of various holidays to master classes with professional artists who teach visitors to draw animals and art residencies. This research aims to identify European best practice examples of zoos using art events that attract more local visitors and tourists and classify art events in zoos. Design / Methodology / Approach. Using the document analysis method, the home pages of different zoos worldwide were analysed. In antiquation, partly structured interviews with zoo representatives and artists were made. Findings. The results of the research will be presented at the conference. Originality / Value / Practical implications. The research summarises the experiences of different zoos in organising art events. It creates a typology of art events that can be used by representatives of different zoos when planning additional activities.

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Gut’ko, Ekaterina Yu. „THE ESSENCE OF THE STRUCTURAL-COGNITIVE MODEL OF CONSUMER PERCEPTION OF CULTURE AND ART IN MARKETING“. EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 6/1, Nr. 147 (2024): 158–63. http://dx.doi.org/10.36871/ek.up.p.r.2024.06.01.021.

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It is determined that the modern approach to art presupposes successful perception and understanding due to previous, and often negative experience, movement towards moments of enlightenment, pleasure and conceptual or perceptual transformation. A person is left without the means to account for fundamental changes in artistic experience, which in turn has led to a simplified concept of perception of art itself, often divorced from the personal beliefs and identity of the consumer, limiting his ability to separate and organize perception, as well as explain and combine cognitive, emotional and evaluative criteria. Thus, it is determined that this is the whole process, during which the consumer returns to cognitive perception with a new set of expectations, which are a direct result of the perception of art. And it is the hidden emphasis on destruction, when the consumer is looking for changes before assimilating, that should provide a significant focus for artistic modeling, which will allow taking into account the specifics of the application and practical results of using the structural and cognitive model of consumer perception of art in art marketing when forming an art marketing development strategy. During the implementation of the presented scheme of the structural and cognitive model of consumer perception of art in art marketing, a significant place is occupied by the implementation of all elements of the marketing complex to fulfill all important strategic tasks for the development of the art industry and art space. For the development of the art space based on a marketing approach, it is important to define in more detail a set of measures for the marketing promotion of art objects and art events.

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Liu, Xia, und Lin-na Wang. „Marketing and Promotion Response of Art Psychotherapy“. Creativity and Innovation 6, Nr. 2 (2022): 17–21. http://dx.doi.org/10.47297/wspciwsp2516-252703.20220602.

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Nicholls, J. A. F., Sydney Roslow und Gary A. Walter. „Hospitality Uses Art in Its Marketing Strategy“. Journal of Hospitality & Leisure Marketing 1, Nr. 4 (September 1993): 117–26. http://dx.doi.org/10.1300/j150v01n04_08.

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Ross, Chanon. „Wicked Art: Marketing, Augustine, and the Demonic“. Liturgy 29, Nr. 1 (22.11.2013): 45–54. http://dx.doi.org/10.1080/0458063x.2014.846738.

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Chuu, Sharon L. H., Jennifer C. Chang und Judith L. Zaichkowsky. „Exploring Art Film Audiences: A Marketing Analysis“. Journal of Promotion Management 15, Nr. 1-2 (16.06.2009): 212–28. http://dx.doi.org/10.1080/10496490902835688.

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Harvey, Charles, und Jon Press. „William Morris and the Marketing of Art“. Business History 28, Nr. 4 (Oktober 1986): 36–54. http://dx.doi.org/10.1080/00076798600000054.

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Toghraee, Mohamad Taghi, Mehran Rezvani, Mohammad Hassan Mobaraki und Jahangir Yadollahi Farsi. „Entrepreneurial marketing in creative art based businesses“. International Journal of Management Practice 11, Nr. 4 (2018): 448. http://dx.doi.org/10.1504/ijmp.2018.095162.

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Farsi, Jahangir Yadollahi, Mohammad Hassan Mobaraki, Mohamad Taghi Toghraee und Mehran Rezvani. „Entrepreneurial marketing in creative art based businesses“. International Journal of Management Practice 11, Nr. 4 (2018): 448. http://dx.doi.org/10.1504/ijmp.2018.10014325.

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Takahashi, Fumisa. „Service Quality and Acquisition of Cultural Knowledge in an Art Museum:“. Japan Marketing Journal 38, Nr. 1 (30.06.2018): 78–91. http://dx.doi.org/10.7222/marketing.2018.030.

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Lee, Jin Woo, und Soo Hee Lee. „User participation and valuation in digital art platforms: the case of Saatchi Art“. European Journal of Marketing 53, Nr. 6 (10.06.2019): 1125–51. http://dx.doi.org/10.1108/ejm-12-2016-0788.

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PurposeThe purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approachThe authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.FindingsThe growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.Research limitations/implicationsThe first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.Practical implicationsThe outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.Originality/valueUser participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

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Joy, Annamma, Jeff Jianfeng Wang, Tsang-Sing Chan, John F. Sherry und Geng Cui. „M(Art)Worlds: Consumer Perceptions of How Luxury Brand Stores Become Art Institutions“. Journal of Retailing 90, Nr. 3 (September 2014): 347–64. http://dx.doi.org/10.1016/j.jretai.2014.01.002.

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Petkus, Ed, Desislava Budeva, Christina Chung und Hristina Dzhogleva. „Marketing Outputs as Art? Bringing an Aesthetic Sensibility to the Marketing Curriculum“. Marketing Education Review 21, Nr. 2 (Juli 2011): 113–24. http://dx.doi.org/10.2753/mer1052-8008210202.

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Samosir, Zurni Zahara, Prihatin Lumbanraja, Ance Marintan Sihotang und Elisabet Siahaan. „Marketing Strategies for Traditional Musical Instruments and Wood-based Souvenir“. ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, Nr. 2 (02.12.2020): 647–53. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5424.

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Marketing is known as the most important element of any economic activity. Without a good marketing practices,, product will not be known to public. People will not purchase or consume products that they are completely unaware of. Siponjot Village, which is fostered as an art village, must be able to market its art so that they are widely recognized and recognized by the community. This community service program from the marketing side of village art products targets the creation of creative economic transactions as well as marketing activities for art products of Siponjot Village craftsmen, be it musical instruments, art performances, or crafts made by the people of Siponjot Village. During this occasion, the implementation team has provided a designs that can be used as brands / labels for Siponjot’s products.

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Biehl-Missal, Brigitte. „Art, Fashion, and Anti-consumption“. Journal of Macromarketing 33, Nr. 3 (28.02.2013): 245–57. http://dx.doi.org/10.1177/0276146713477865.

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Tadajewski, Mark, und Kathy Hamilton. „Waste, Art, and Social Change“. Journal of Macromarketing 34, Nr. 1 (28.10.2013): 80–86. http://dx.doi.org/10.1177/0276146713509631.

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Afef, Sahli. „State of the Art: Authenticity and Influencer Marketing“. International Review of Management and Marketing 14, Nr. 1 (16.01.2024): 39–47. http://dx.doi.org/10.32479/irmm.15446.

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Digital marketing is a new form of marketing that uses several digital media to spread a message. Influencer marketing is a promising acquisition channel for companies to explore. Engaging with influencers can help a company improve its brand image and stand out in an increasingly competitive marketplace. However, these opinion leaders can influence the purchasing behavior of the target audience. These are individuals with skills in a particular field, using them to create quality content, they are recognized as experts in their field. The content they publish is often in the form of a personalized story incorporating their opinion on a situation, a product or a service. Success lies in establishing a genuine, preferably long-term, relationship between the brand and its influencers. The objective is to rigorously analyze the links and elements that give meaning to this “Influencer marketing authenticity” interaction. As part of this research, we presented a detailed literature review of authenticity and influence marketing.

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Wang, Anyu. „An Analysis of the Marketing Strategy of Domestic Art Films in the New Media Era: A Case Study of Only the River Flows“. Lecture Notes in Education Psychology and Public Media 42, Nr. 1 (14.03.2024): 56–62. http://dx.doi.org/10.54254/2753-7048/42/20240810.

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Chinese art films have been garnering increasing attention on the international stage; however, they are still facing challenges in terms of publicity and marketing within the domestic film market. Based on this background, this paper aims to examine the marketing strategy of the recent exceptional art film Only The River Flows through a case study approach, with the employment of text analysis and theoretical analysis to identify an effective marketing model for art films. In this era of new media, both social platforms and short video platforms have presented opportunities as well as challenges for film marketing. Through the analysis, it can be seen that domestic art films need to strike a balance between their artistic value and commercial viability while they should also pay attention to comprehending the commonalities along with individualities of different marketing approaches in order to achieve critical acclaim as well as box office success.

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Kurniasari, Ismawati, und Eka Anisa Sari. „Locomotion Art Studio marketing comunications in maintaining loyality with clients“. Symposium of Literature, Culture, and Communication (SYLECTION) 2022 3, Nr. 1 (22.11.2023): 1184. http://dx.doi.org/10.12928/sylection.v3i1.14348.

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Marketing communication activities are essential for stimulating sales transactions. The emphasis in marketing communication should provide a clear and directed overview of the company's activities in maximizing opportunities across various target markets. Marketing communication is carried out with the purpose of promotion. Marketing agencies promoting services or products compete in applying marketing communication strategies to attract clients and maintain the loyalty of existing customers. This research utilizes marketing communication and customer loyalty theories. The research approach employed is qualitative descriptive, using a case study research method, and data collection techniques involve interviews, observations, literature reviews, and documentation.The findings of this research indicate that Locomotion Art Studio implements a marketing communication mix comprising Advertising, Sales Promotion, Public Relations, Personal Selling, Interactive Marketing, and Word of Mouth, with Word of Mouth being the dominant promotional element. The strong interest between Locomotion and their clients is evident through high rates of repeat purchases. This relationship is driven by a close interdependence, high satisfaction levels, and positive impressions of the services provided by Locomotion, resulting in clients continuously choosing to collaborate with them on an ongoing basis.

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Anggraeni, Novi, Tussi Sulistyowati und Nur Elfi Husda. „SOSTAC framework analysis for enhancing digital marketing in Yogyakarta's Art Music Today“. Journal of Community Service and Empowerment 5, Nr. 1 (01.02.2024): 62–72. http://dx.doi.org/10.22219/jcse.v5i1.30521.

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This research utilizes a qualitative descriptive methodology, employing the SOSTAC model to analyze Art Music Today (AMT). The study follows six structured steps, starting with a SWOT-based Situation Analysis highlighting AMT's strengths as a unique Yogyakarta entity. Strategic objectives are set using the 5s Framework, focusing on digital marketing elements like online sales optimization and user experience. The Strategy phase emphasizes STP marketing, presenting AMT as a tailored music information center. Tactics, guided by the 7P framework, include product diversification and pricing strategies, contributing to an enhanced user experience. An 18-month action plan, depicted in a Gantt chart, guides implementation from content creation to streamlined processes. The Control phase involves monitoring with Google Analytics and social media evaluation. Through leveraging strengths and addressing weaknesses, AMT positions itself for growth in the digital landscape, using the SOSTAC model as a robust framework for digital marketing excellence. As a suggestion, through a proactive approach to leveraging inherent strengths and addressing weaknesses, AMT aims for significant growth in the dynamic digital environment. Aligning its digital marketing efforts with the SOSTAC model, which covers Situational Analysis, Objectives, Strategy, Tactics, Action, and Control, ensures a comprehensive understanding of current market dynamics. This strategic alignment establishes the foundation for a well-defined and actionable digital marketing strategy.

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Akimov, Dmytro. „Marketing art and integrated marketing communications (advertising, stimulation of object, please re- leases)“. Almanac "Culture and Contemporaneity", Nr. 1 (03.10.2019): 61–67. http://dx.doi.org/10.32461/2226-0285.1.2019.179648.

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ÖZDEL, GİZEM. „ART THEMES URBAN MARKETING POWER USED BY MOVIES“. TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 4, Nr. 3 (01.07.2014): 29–39. http://dx.doi.org/10.7456/10403100/003.

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