“Marketing from the Art World”: A Critical Review of American Research in Arts Marketing

Lee, Jin Woo; Lee, Soo Hee

doi:10.1080/10632921.2016.1274698

Cited by 19 publications

(29 citation statements)

References 48 publications

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“…As we can see in Figure 2, the process of building Hirst's brand identity depends on understanding the invisible symbolic power of Saatchi, the certification of YBA, and several intermediaries (critics, media, dealers, and curators). This paper attempts to understand artists' brand at a societal level and shows the significant influence of institutional structure, namely the art world, upon artist's brand communication, which suggests insightful lessons for marketing scholars in line with the following research (J. W. Lee & Lee, 2017;S. H. Lee & Lee, 2016;Preece & Kerrigan, 2015;Preece et al, 2016;Rodner & Kerrigan, 2014;Rodner & Preece, 2015).…”

Section: Resultsmentioning

confidence: 89%

Semiotic Approach on Artist’s Brand Communication: The Case of Damien Hirst

Lee¹,

Park²

2019

Bus. Commun. Res. Pract.

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Objectives: This paper aims to argue how the structure of brand communication by artists creates value in the art market. Artists have already made brands of themselves through self-promotion, networking with stakeholders in the art world, and other activities, and the effects of the artist's brand communication vary depending on the process used. Methods: We select Damien Hirst as a single case, and secondary data from various sources are collected. We analyze the gathered data in order to understand the brand of Hirst in terms of general branding theory and art institution theory. Results: The semantic approach starts with the assumption that Hirst's brand consists of what Saussure calls a 'significant' and a 'signifié. ' The significant involves the ostensible brand revealed in the bizarre and shocking, self-promotion, anti-institutional norms, blasphemy of art, etc., but the hidden symbol, signifié, was created by the existence of Charles Saatchi, a renowned collector, and it involves the symbolic power of YBA and the logic of the art market. Conclusions: The analysis of Hirst's brand, however, shows a paradoxical result. Although his powerful brand was constructed by subverting and challenging the institutional system of art, the system embraces his works, which is shown in the high economic value it brings in the art market. Thus, a differentiation strategy is possible in internal contradictions.

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Section: Resultsmentioning

confidence: 89%

Semiotic Approach on Artist’s Brand Communication: The Case of Damien Hirst

Lee¹,

Park²

2019

Bus. Commun. Res. Pract.

Self Cite

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“…Lastly, empirical findings of this research show that the emergence of digital art platforms like Saatchi Art impinges on the power and strategy of other intermediaries. Indeed, the layer of intermediaries in the field of contemporary art is in flux because of the repositioning of the status of its inner members (Bourdieu, 1996;Giuffre, 1999;Heinich, 2012;Lee and Lee, 2017;Velthuis, 2012), due to the appearance of new styles of artworks and the emergence of new players. The selected artists by Saatchi Art get more opportunities for involvement with other intermediaries 5 .…”

Section: Discussion Conclusion and Research Implicationsmentioning

confidence: 99%

User participation and valuation in digital art platforms: the case of Saatchi Art

Lee

2019

EJM

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Purpose -The 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 (TAM), the meaning transfer model (MTM), and arts marketing literature, we conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approach -We 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. We reviewed 319 buyer comments and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts, and videos.Findings -The 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 atmosphere, thereby attracting novice collectors. However, users' involvement in the process of valuing artworks is limited and still guided by curatorial direction.Originality/value -User 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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“…Christie (1998) elaborated on the business ultimate aim which was all visual artwork produced were sold (transactions occurred). Each phase (artists, studio development, artwork production, traders/agents search, attract buyer/collector interest) that the process undergoes; or also known as each business deal, will eventually lead to the final objective that is a transaction (Christie, 1998;Lee & Lee, 2017). Diggle (1976, as cited in Lee & Lee, 2017) has stressed that, the goal in marketing visual art product is to gain profits which is the main purpose that involve a large number of people for the artists.…”

Section: Marketing Strategy In Visual Artmentioning

confidence: 99%

The Concept of Halal in Visual Art Marketing Strategy: A Research Model Development

Ramli¹,

Masrek²,

Mokhtar³

et al. 2019

IJASOS- International E-Journal of Advances in Social Sciences

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Visual art marketing strategy is a crucial aspect to be taken into consideration in order to ensure the continuous development of visual art field. It assists visual art practitioners to keep being productive in their efforts to come out with more art pieces to be sold. A few previous researches featured several marketing strategies for visual arts: nevertheless, there is no attempt to look at visual art marketing from the perspective of Islamic shariah. With uncertainties looming on visual art"s place in marketing world, the researchers recognize the need to study the concept of Islamic shariah in visual art marketing strategies. Based on this identified research gap, this study aims to produce a model that is related to the Islamic shariah concept regarding visual art marketing strategies. As a result, the discussion on the model involves several aspects namely: 1) product; 2) production process; 3) market place; 4) retailer / collectors; and 5) transactions. Recommendation for future research direction in this area is a more comprehensive study on Islamic marketing strategies in visual art.

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“Marketing from the Art World”: A Critical Review of American Research in Arts Marketing

Abstract: The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record.

Cited by 19 publications

References 48 publications

Semiotic Approach on Artist’s Brand Communication: The Case of Damien Hirst

Semiotic Approach on Artist’s Brand Communication: The Case of Damien Hirst

User participation and valuation in digital art platforms: the case of Saatchi Art

The Concept of Halal in Visual Art Marketing Strategy: A Research Model Development

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