When Arts Met Marketing: Arts Marketing Theory Embedded in Romanticism

Lee, Hye Kyung

doi:10.2139/ssrn.2555291

Cited by 9 publications

(19 citation statements)

References 51 publications

(38 reference statements)

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“…The arts marketer traditionally has no say in the production of the product. This is a romantic view of the artist that is shared by most people in the not-for-profit arts sector (Lee, 2005). As Kubacky and Croft (2011) show, however, the position among artists is more nuanced.…”

Section: The Supply-side Marketing Assumptionmentioning

confidence: 99%

“…Professional arts marketers are familiar with the concept of “a product in search of an audience (a market),” a vision at odds with the marketing concept that emphasizes “a market in search of a product.” The arts marketer traditionally has no say in the production of the product. This is a romantic view of the artist that is shared by most people in the not‐for‐profit arts sector (Lee, ). As Kubacky and Croft () show, however, the position among artists is more nuanced.…”

Section: The Supply‐side Marketing Assumptionmentioning

confidence: 99%

“…Artistic products are rich in cultural meaning and are generally construed as playing an important social role. Researchers describe, for instance, how the involvement of the British government in promoting and disseminating the arts is anchored in the assumption that the arts possess universal value (Lee, ) and promote social inclusion (Durrer & Miles, ). Hence, there has been great interest in understanding the determinants of participation in the arts—that is, the degree and forms of arts consumption—as well as the social implications of this participation.…”

Section: Cultural Participation and Cultural Capitalmentioning

confidence: 99%

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Research in Arts Marketing: Evolution and Future Directions

Colbert

St-James

2014

Psychology and Marketing

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Arts marketing has emerged as a flourishing research domain over the last few decades. Reflecting on the nature and evolution of arts marketing research, we propose a selective review of the literature on the marketing and consumption of arts and culture. Specifically, this review examines the defining characteristics of arts marketing research, as well as key themes and contributions, with the goal of identifying promising future directions.

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Section: The Supply-side Marketing Assumptionmentioning

confidence: 99%

Section: The Supply‐side Marketing Assumptionmentioning

confidence: 99%

Section: Cultural Participation and Cultural Capitalmentioning

confidence: 99%

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Research in Arts Marketing: Evolution and Future Directions

Colbert

St-James

2014

Psychology and Marketing

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“…Since the 1990s, the position of marketing in the arts has been established by creating and disseminating knowledge through higher education programmes, academic and practitioner conferences and manuals of marketing practice supported by government funds (Lee 2005).…”

Section: A Historical Overview Of Arts Marketing Researchmentioning

confidence: 99%

“…Firstly, we provide a brief review of research in arts marketing to explain the initial adaptation of marketing in the arts and its later developments. Since the 1990s, the period of noteworthy development in arts marketing (Lee 2005), the discipline has evolved in terms of either upholding the initial adaptation of marketing techniques to the arts such as promotion, pricing, and market segmentations, or developing new research directions by considering "the arts as a marketing context" (Butler 2000, 345).…”

Section: Introductionmentioning

confidence: 99%

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

Lee

2017

The Journal of Arts Management, Law, and Society

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Artists as cultural intermediaries? Remediating practices of production and consumption

Hadley

2021

AAM

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PurposeThe purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.Design/methodology/approachInterview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.FindingsWhen artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.Originality/valueA consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

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When Arts Met Marketing: Arts Marketing Theory Embedded in Romanticism

Cited by 9 publications

References 51 publications

Research in Arts Marketing: Evolution and Future Directions

Research in Arts Marketing: Evolution and Future Directions

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

Artists as cultural intermediaries? Remediating practices of production and consumption

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