ECI Week 6
ECI Week 6
ECI Week 6
Arts Marketing
By Krzysztof Kubacki and Daragh O’Reilly
61MKT3ECI/FMT/HANU/2022
Art definitions
• Early conceptualizations of art: distinctive features
of artworks - presentational and expressive
definitions.
• Institutional definition of art: non-essentialist
definitions of art - a work of art is an artefact of a
kind created to be presented to an artworld public.
Art definitions
• “A social constructionist view of art which seeks to accommodate
these lines of thinking might assert that art is a construct which is
contextually and strategically mobilized by individuals and social
institutions to discuss a human signifying practice, whereby a
historically situated artist, working from his/her lived inner and outer
experiences, and from his/her creative imagination, selects and
configures material and symbolic resources – including ideas,
images, sounds, smells, tastes, actions and gestures – in accordance
with certain art-generic ideas, and arranges them in an expressive
text which refers to different dimensions of human experience.
CCIs
• Different organizations use CCIs to tap into the
artistic talent and products to which the latter have
bought the rights.
• Pro: Commerce also makes art more
communicative and accessible to audiences and
therefore establishes a bridge between artists and
their public
• Cons: A conflict between commerce and creativity
or art and capitalism? – ‘Mcdonaldization of
culture’
o Arts organizations often have to modify the products to make them more
accessible to wider audiences; that in turn can negatively affect artistic
integrity.
61MKT3ECI/FMT/HANU/2022
CONSUMPTION OF ART
• Botti (2000) draws the attentions to factors
influencing motivation to attend.
• 04 main needs:
■ 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.
61MKT3ECI/FMT/HANU/2022
ART BRANDS
• In a general symbolic sense, an artist may be
considered a brand.
• Topical issues in branding and the arts: Issues of
identity/image attractiveness, credibility,
authenticity and legitimacy are often salient in
assessments of artists ’ effectiveness, not only
amongst ordinary fans, but particularly amongst
their peers and specialist critics.
61MKT3ECI/FMT/HANU/2022
ARTS MARKETERS
• An arts marketer, however, needs to be a
situationist:
o the role of the organization or artist in the relevant value chain
o the artistic conventions and ideologies which historically apply there;
o the rate, nature and degree of artistic innovation;
o the sources of funding which are available and the requirements and
priorities which they bring with them;
o the location of the marketer in the art project structure and his/her power
or lack thereof;
o the receptivity of the consumers, fans and critics;
o the kind of business model which is viable in the relevant arts sector;
o the tensions between art and commerce;
o and the influence of government policy, technological developments,
the media and the economy
o and so on.
61MKT3ECI/FMT/HANU/2022