Art marketing as an emerging area in an emerging market

Abstract

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.

Brand artification beyond luxury: Evidence from Russian brand‐and‐artist collaborations

“…Cronbach's alpha for each variable is from .71 to .90, which indicates the sufficiency of the data reliability (Table 3). The mean values of the variables show that artification mostly affects the sensory, affective and behavioural dimensions because artification is one of the main components of experiential branding as it influences consumers' emotions (Gürşen, 2020). The intellectual and social dimensions of brand perception are less influenced by artificated products.…”

“…Marketing logic is present in most spheres of human activity, including art: ‘Although the art product is not produced by marketing logic, it is marketed with marketing logic’ (Gürşen, 2020, p. 36). In certain contexts, the distinction between brands and art may be vague.…”

“…The studies that have investigated the brand perspective of artification (Baumgarth, 2018; Estes et al, 2018; Gürşen, 2020; Kim et al, 2018) largely explore the effect of artification on brand equity and image, the methods and strategies of artification used by brands and the advantages of this process. For brands, creativity is a driver of competitive advantage (Rodner & Kerrigan, 2014) that helps them to be unique and recognizable.…”

Artists’ production sensibilities within the dynamics of an emerging art market

“…We selected the art market in Izmir as the context of this study because of the idiosyncratic characteristics of the Turkish art market. Turkey can be framed as an emerging market as its institutionalization process began after the 1970s, which is relatively new compared to developed art markets in the West (Gürşen, 2020). The market for Turkish art’s valuation and international scope can be characterized by a developing infrastructure mostly consisting of governmental museums and private exhibition spaces and high involvement of initiatives led by industrial families or private collectors in support of cultural infrastructure.…”

“…Today, Izmir hosts art galleries, cultural centers, artist initiatives, and a philanthropic-led museum. Since the art infrastructure has been substantially developed in the last two decades compared to the established structure of the Istanbul market, the art market in Izmir can be evaluated as a “maturing market.” (Gürşen, 2020). It has an emerging and relatively small art market, so artists’ relationships with other actors can be traceable.…”