Season's Greetings
No matter what your religion or what your belief system, I hope you have a very enjoyable festive season!
Marie-Therese.
Xmas Mona.
Introduction
The talk below is based on a talk I gave to a meeting of a number of gallery directors in Melbourne several years ago. This will be the last post for 2020. The next post will be on the 9th of January, 2021.
The Marketing of Art
The midnight opening of George Lucas’, “Star Wars: Episode II - Attack of the Clones”, highlighted the marketing strategy of a modern “block-buster” film.
On the weekend of the opening, approximately 10% of the total budget was spent on marketing the film world-wide to whet the appetite of the viewing public [1].
This marketing strategy further substantiated the careful development of a cult following (over a nine film duration) in order to ensure audience performance and participation. At the midnight showing in Sydney (Australia) there were a least four “Yodas”, one Queen, a few princesses, some Jedi knights, a number of clone-troopers, Droids and even a creature dressed as a knife wielding extra-terrestrial butcher. In other words, like science fiction movies and television shows before and after it, “Stars Wars” has become a “living” memory and a “reality” performance art or an "event happening" for a devoted few. It has and will continue to make money over a much longer duration when compared to a number of other “block-busters” that have now faded from our memories. The merchandizing of the clothes, figures, posters, novels, soundtrack and other implements (such as swords) will ensure an on-going sale for a long time to come [2].
Deluxe Clone Helmet.
Art “block-busters” in Australia have emanated from the National Gallery of Australia, where “exclusive” exhibitions have been the cornerstone of a marketing strategy. While media saturation was effective (because of the use of the corporate dollar) in such exhibitions as - “Rodin: A Magnificent Obssession”, “Frida Kahlo, Diego Rivera and Mexican Modernism”, “Monet and Japan” and “Chihuly: Masterworks in Glass” - there was no emphasise on involving the public other than in a passive viewing role [3].
Surprisingly, there was very little merchandizing at these “block-buster” art exhibitions. For example, no prints were available of many of the artworks. In fact, for the Chihuly exhibition, there was not even a sufficient number of exhibition catalogues, post cards or books on this or on any of his artwork available in the Gallery bookshop [4] during the exhibition.
On a local level, the “Parisian Posters” exhibition, was initiated through a unique partnership program between the National Gallery of Australia and the Newcastle Region Art Gallery. From a collection of 900 lithographs printed at the prestigious Mourlot Studio in Paris, fifty-five lithographs by Picasso, Matisse and Chagall were selected for exhibition. These posters that have rarely been seen, were lithographic posters of the great masters, which revealed the brilliant collaboration between artists and printmakers [5].
In this instance, there was also no merchandizing product available. In other words, the lack of merchandizing prohibited the viewer from “living and breathing” the artwork and so the exhibition experience became transitory for most. Clearly, a “block-buster” in the art world is not allowed to be associated with the marketing hype of the film world (even though both are intrinsically passive media forms). It is no wonder that on a weekly basis more people will view “poor” films rather than engage with “excellent” art.
A comparison study of attendance figures highlights the role strategic marketing plays. In the United States market, “Attack of the Clones”, played in 3,161 theatres on opening night, attracting approximately nine million patrons [6]. The “Cezanne Exhibition” at the Philadelphia Museum of Art attracted a record breaking 548,741 visitors over a fourteen week run [7]. The National Gallery of Australia attracted 589,569 visitors overall in the 2000/01 financial year in this market [8]. In other words, film resonates with the public much more than art does.
The most elementary basis of marketing is the process of exchange[9]. Simply put, person A has a product that person B wants and an exchange is agreed upon in terms of a particular medium (i.e. pigs, cows, people or even money). Art marketing intervenes in that process by providing a number of auxiliary “assists” in the terms of configuration, symbolization, facilitation and evaluation [10]. It is the oil, which lubricates the process of exchange.
How artworks reach their particular markets have interesting cultural and historical routes. In some cultures, it is via spiritual leaders, whereas in the Western culture (which has become more secular) it has been largely shaped by the form of the ubiquitous art dealer, who acts as both a general agent for a stable of artists as well as a local retailer [11]. However, after the second world war, a number of different distribution channels started to emerge. For example, widely distributed art galleries, internet art selling sites, auction houses, workshops, subscription organizations, publishers, wholesalers, direct artist-collector sales and art cooperatives provided a somewhat chaotic, uncoordinated variety of distribution outlets [12].
While no major retailer is merchandizing artworks, mass media distribution channels suddenly appear. For example, in the World Series Cricket between Australia and South Africa (an international sport), a national TV network was merchandizing Pro Hart’s fine-art print - “Bush Cricket” - more as a symbolic celebration of the game rather as an artwork in its own right [13].
Pro Hart’s fine-art print – Bush Cricket.
Promotion is the “engine” of the marketing program and involves publicity, advertising, sales promotion and direct marketing.
Planned promotional activity over a period of time - weeks, months or even years - is called a campaign. All campaigns no matter how they are executed and regardless of their goals, need an effective strategy and plan.
The campaign strategy should be part of the bigger picture developed through the divisions of vision, mission, goals, business plan and marketing strategy. Developing a campaign strategy is equivalent to a dance routine - it makes you go through all the steps. It takes you through the P’s of marketing: the public; the product; the price; the promotion and the place - thereby providing a structure for analyzing the product, the external environment and the outcomes [14].
The public or rather the market is usually couched in terms of market segmentation and the target market [15]. Market segmentation and target market center on recognizing that the total market may need to be divided into smaller and more homogeneous cohorts, that may better resonate with the product being marketed [16]. For example, Pro Hart’s “Bush Cricket” was targeted toward a sporting audience rather than to an educated art audience. Note: Sporting audiences view framed signed team outfits, which they hang on their wall, as legtimate art and so sporting memobrilla effectively competes for the art dollar.
The product - as in the five Ps - can be thought of in the following terms: its formal characteristics (i.e. its physical appearance and requirements); its core benefits (i.e. its exclusivity, status and individuality) and its augmented benefits (e.g. framed or unframed etc) [17]. In the case of “Bush Cricket” the printed edition was limited to 500 and the marketing strategy aimed at exclusivity and status (i.e. “It's a Pro Hart; it's a limited edition artwork!”)
It is clear that pricing decisions are the major plank in the marketing of a product. “Bush Cricket” was priced at AUD$613 (at the time of selling) and moreover, market research deemed that a sporting audience was prepared to pay this price for a piece of art produced by “the common man’s artist”.
Promotion is the communication dimension of marketing: potential customers are identified, informed and persuaded to buy the product on offer[19]. What form the promotion takes is clearly dependent on other elements of the marketing strategy, such as, the size of the target market, the exclusivity of the product and of course, the price. For example, it is unwise with respect to expenditure in promoting any product to be structurally greater than the maximum income realization from a potential market.
The last element in any marketing strategy is “the place”. That is, the distribution channel for the product. Should the product be sold directly to the customer via studio sales, galleries, fairs and shows, commission, community markets, websites or some other retail outlet [20].
Major marketing events such as “block-buster” art exhibitions and art festivals do not as yet involve audience performance and participation in the same “cult” mode that has been established by carefully managed “block-buster” movies. For example, with respect to the latter, part of the strategy involved George Lucas being choosy about locations, insisting on top-of-the-line cinemas with digital sound. Paul Dergarabedian, president of exhibitor relations said, “No apologies need to be made for an opening this big. This is the fifth installment of “Star Wars” and for this film to do so well these many years later and still be relevant, it’s a testament to the power of Lucas’ vision and the allure it has for audiences” [21].
Clearly, these strategies are not intended to be the linchpin of the creative process, but rather must be designed to underpin the financial platform on which artists can continue to engage in the creative process. In other words, marketing is a means to bring the art to the public. It is not an end in itself. Art is the end goal. Afterall, when we view a “Matisse”, we feel his spirit, and so his art.
Marketing in itself does not have that spirit. It may deliver this spirit to others - that was what George Lucas did when he made us want to rust onto a simple ideal - “Good triumphs Evil”. Marketing has nothing to do with the corrupting of art - it has everything to do with the delivery of art. Without such delivery, art will become a past-time activity of the “few” to be engaged by a small select group in our society. Marketing of art is a means to bring to the multitude the act of engaging with art. It is nothing more than a simple tool to facilitate engagement. After all, we as artists have produced our visions - it is the role of not only ourselves but for others to make it known and to make it accessible in order to be owned and/or shared by others. Starving artists are many, but none of us really want to be in that category - no matter how noble we pretend it is!
References:
[1] “Star Wars - Episode II - Attack of the Clones” 2002.
[2] Prequel Multimedia Gallery: Fan Scenes, 2002.
[3] National Gallery of Australia, 2002.
[4] National Gallery of Australia, “1999 - 2000 Annual Report”, p20.
[5] Newcastle Region Art Gallery, “Parisian Posters: Picasso, Matisse, Chagall”
Exhibition Information Flyer, 2002.
[6] Yahoo ! Movies: Weekend Box Office Report, 2002.
[7] Philadelphia Museum of Art, Press Release, 2002.
[8] National Gallery of Australia, “2000 - 2001 Annual Report”. Appendix 7, p136.
[9] Mokwa M.P., Nakamoto, K. and Enis B.E.in, “Marketing the Arts”,
Eds Mokwa M.P., Dawson, W.M. and Prieve, E.A. Praeger Publishing, New York, 1980, p16.
[10] ibid. p16.
[11] Goodman C.J., “Art Marketing Handbook”, gee tee bee, New York, 1978, p4.
[12] ibid. p10.
[13] Channel Nine Wide World of Sport, Baggy Green, Home of Australian Cricket, 2002.
[14] Australia Council, Marketing Strategies for Arts Organisations, 2002.
[15] Stokes, J. “Earning a Living in the Visual Arts and Crafts”, Southward Press, Sydney, 1997, Ch12.
[16] ibid. Ch12.
[17] ibid. Ch12.
[18] ibid. Ch12.
[19] ibid. Ch12.
[20] ibid. Ch12.
[21] Yahoo ! Movies: Weekend Box Office Report, 2002.
No matter what your religion or what your belief system, I hope you have a very enjoyable festive season!
Marie-Therese.
Introduction
The talk below is based on a talk I gave to a meeting of a number of gallery directors in Melbourne several years ago. This will be the last post for 2020. The next post will be on the 9th of January, 2021.
The Marketing of Art
The midnight opening of George Lucas’, “Star Wars: Episode II - Attack of the Clones”, highlighted the marketing strategy of a modern “block-buster” film.
On the weekend of the opening, approximately 10% of the total budget was spent on marketing the film world-wide to whet the appetite of the viewing public [1].
This marketing strategy further substantiated the careful development of a cult following (over a nine film duration) in order to ensure audience performance and participation. At the midnight showing in Sydney (Australia) there were a least four “Yodas”, one Queen, a few princesses, some Jedi knights, a number of clone-troopers, Droids and even a creature dressed as a knife wielding extra-terrestrial butcher. In other words, like science fiction movies and television shows before and after it, “Stars Wars” has become a “living” memory and a “reality” performance art or an "event happening" for a devoted few. It has and will continue to make money over a much longer duration when compared to a number of other “block-busters” that have now faded from our memories. The merchandizing of the clothes, figures, posters, novels, soundtrack and other implements (such as swords) will ensure an on-going sale for a long time to come [2].
Art “block-busters” in Australia have emanated from the National Gallery of Australia, where “exclusive” exhibitions have been the cornerstone of a marketing strategy. While media saturation was effective (because of the use of the corporate dollar) in such exhibitions as - “Rodin: A Magnificent Obssession”, “Frida Kahlo, Diego Rivera and Mexican Modernism”, “Monet and Japan” and “Chihuly: Masterworks in Glass” - there was no emphasise on involving the public other than in a passive viewing role [3].
Surprisingly, there was very little merchandizing at these “block-buster” art exhibitions. For example, no prints were available of many of the artworks. In fact, for the Chihuly exhibition, there was not even a sufficient number of exhibition catalogues, post cards or books on this or on any of his artwork available in the Gallery bookshop [4] during the exhibition.
On a local level, the “Parisian Posters” exhibition, was initiated through a unique partnership program between the National Gallery of Australia and the Newcastle Region Art Gallery. From a collection of 900 lithographs printed at the prestigious Mourlot Studio in Paris, fifty-five lithographs by Picasso, Matisse and Chagall were selected for exhibition. These posters that have rarely been seen, were lithographic posters of the great masters, which revealed the brilliant collaboration between artists and printmakers [5].
In this instance, there was also no merchandizing product available. In other words, the lack of merchandizing prohibited the viewer from “living and breathing” the artwork and so the exhibition experience became transitory for most. Clearly, a “block-buster” in the art world is not allowed to be associated with the marketing hype of the film world (even though both are intrinsically passive media forms). It is no wonder that on a weekly basis more people will view “poor” films rather than engage with “excellent” art.
A comparison study of attendance figures highlights the role strategic marketing plays. In the United States market, “Attack of the Clones”, played in 3,161 theatres on opening night, attracting approximately nine million patrons [6]. The “Cezanne Exhibition” at the Philadelphia Museum of Art attracted a record breaking 548,741 visitors over a fourteen week run [7]. The National Gallery of Australia attracted 589,569 visitors overall in the 2000/01 financial year in this market [8]. In other words, film resonates with the public much more than art does.
The most elementary basis of marketing is the process of exchange[9]. Simply put, person A has a product that person B wants and an exchange is agreed upon in terms of a particular medium (i.e. pigs, cows, people or even money). Art marketing intervenes in that process by providing a number of auxiliary “assists” in the terms of configuration, symbolization, facilitation and evaluation [10]. It is the oil, which lubricates the process of exchange.
How artworks reach their particular markets have interesting cultural and historical routes. In some cultures, it is via spiritual leaders, whereas in the Western culture (which has become more secular) it has been largely shaped by the form of the ubiquitous art dealer, who acts as both a general agent for a stable of artists as well as a local retailer [11]. However, after the second world war, a number of different distribution channels started to emerge. For example, widely distributed art galleries, internet art selling sites, auction houses, workshops, subscription organizations, publishers, wholesalers, direct artist-collector sales and art cooperatives provided a somewhat chaotic, uncoordinated variety of distribution outlets [12].
While no major retailer is merchandizing artworks, mass media distribution channels suddenly appear. For example, in the World Series Cricket between Australia and South Africa (an international sport), a national TV network was merchandizing Pro Hart’s fine-art print - “Bush Cricket” - more as a symbolic celebration of the game rather as an artwork in its own right [13].
Promotion is the “engine” of the marketing program and involves publicity, advertising, sales promotion and direct marketing.
Planned promotional activity over a period of time - weeks, months or even years - is called a campaign. All campaigns no matter how they are executed and regardless of their goals, need an effective strategy and plan.
The campaign strategy should be part of the bigger picture developed through the divisions of vision, mission, goals, business plan and marketing strategy. Developing a campaign strategy is equivalent to a dance routine - it makes you go through all the steps. It takes you through the P’s of marketing: the public; the product; the price; the promotion and the place - thereby providing a structure for analyzing the product, the external environment and the outcomes [14].
The public or rather the market is usually couched in terms of market segmentation and the target market [15]. Market segmentation and target market center on recognizing that the total market may need to be divided into smaller and more homogeneous cohorts, that may better resonate with the product being marketed [16]. For example, Pro Hart’s “Bush Cricket” was targeted toward a sporting audience rather than to an educated art audience. Note: Sporting audiences view framed signed team outfits, which they hang on their wall, as legtimate art and so sporting memobrilla effectively competes for the art dollar.
The product - as in the five Ps - can be thought of in the following terms: its formal characteristics (i.e. its physical appearance and requirements); its core benefits (i.e. its exclusivity, status and individuality) and its augmented benefits (e.g. framed or unframed etc) [17]. In the case of “Bush Cricket” the printed edition was limited to 500 and the marketing strategy aimed at exclusivity and status (i.e. “It's a Pro Hart; it's a limited edition artwork!”)
It is clear that pricing decisions are the major plank in the marketing of a product. “Bush Cricket” was priced at AUD$613 (at the time of selling) and moreover, market research deemed that a sporting audience was prepared to pay this price for a piece of art produced by “the common man’s artist”.
Promotion is the communication dimension of marketing: potential customers are identified, informed and persuaded to buy the product on offer[19]. What form the promotion takes is clearly dependent on other elements of the marketing strategy, such as, the size of the target market, the exclusivity of the product and of course, the price. For example, it is unwise with respect to expenditure in promoting any product to be structurally greater than the maximum income realization from a potential market.
The last element in any marketing strategy is “the place”. That is, the distribution channel for the product. Should the product be sold directly to the customer via studio sales, galleries, fairs and shows, commission, community markets, websites or some other retail outlet [20].
Major marketing events such as “block-buster” art exhibitions and art festivals do not as yet involve audience performance and participation in the same “cult” mode that has been established by carefully managed “block-buster” movies. For example, with respect to the latter, part of the strategy involved George Lucas being choosy about locations, insisting on top-of-the-line cinemas with digital sound. Paul Dergarabedian, president of exhibitor relations said, “No apologies need to be made for an opening this big. This is the fifth installment of “Star Wars” and for this film to do so well these many years later and still be relevant, it’s a testament to the power of Lucas’ vision and the allure it has for audiences” [21].
Clearly, these strategies are not intended to be the linchpin of the creative process, but rather must be designed to underpin the financial platform on which artists can continue to engage in the creative process. In other words, marketing is a means to bring the art to the public. It is not an end in itself. Art is the end goal. Afterall, when we view a “Matisse”, we feel his spirit, and so his art.
Marketing in itself does not have that spirit. It may deliver this spirit to others - that was what George Lucas did when he made us want to rust onto a simple ideal - “Good triumphs Evil”. Marketing has nothing to do with the corrupting of art - it has everything to do with the delivery of art. Without such delivery, art will become a past-time activity of the “few” to be engaged by a small select group in our society. Marketing of art is a means to bring to the multitude the act of engaging with art. It is nothing more than a simple tool to facilitate engagement. After all, we as artists have produced our visions - it is the role of not only ourselves but for others to make it known and to make it accessible in order to be owned and/or shared by others. Starving artists are many, but none of us really want to be in that category - no matter how noble we pretend it is!
References:
[1] “Star Wars - Episode II - Attack of the Clones” 2002.
[2] Prequel Multimedia Gallery: Fan Scenes, 2002.
[3] National Gallery of Australia, 2002.
[4] National Gallery of Australia, “1999 - 2000 Annual Report”, p20.
[5] Newcastle Region Art Gallery, “Parisian Posters: Picasso, Matisse, Chagall”
Exhibition Information Flyer, 2002.
[6] Yahoo ! Movies: Weekend Box Office Report, 2002.
[7] Philadelphia Museum of Art, Press Release, 2002.
[8] National Gallery of Australia, “2000 - 2001 Annual Report”. Appendix 7, p136.
[9] Mokwa M.P., Nakamoto, K. and Enis B.E.in, “Marketing the Arts”,
Eds Mokwa M.P., Dawson, W.M. and Prieve, E.A. Praeger Publishing, New York, 1980, p16.
[10] ibid. p16.
[11] Goodman C.J., “Art Marketing Handbook”, gee tee bee, New York, 1978, p4.
[12] ibid. p10.
[13] Channel Nine Wide World of Sport, Baggy Green, Home of Australian Cricket, 2002.
[14] Australia Council, Marketing Strategies for Arts Organisations, 2002.
[15] Stokes, J. “Earning a Living in the Visual Arts and Crafts”, Southward Press, Sydney, 1997, Ch12.
[16] ibid. Ch12.
[17] ibid. Ch12.
[18] ibid. Ch12.
[19] ibid. Ch12.
[20] ibid. Ch12.
[21] Yahoo ! Movies: Weekend Box Office Report, 2002.
