scholarly journals Specifics of sponsorship as a technology of ensuring access of population to works in art marketing

2020 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Fine Arts ◽  
Public Access ◽  
Art Collections ◽  
Works Of Art ◽  
The World ◽  
Museum Exhibitions ◽  
Anglo American ◽  
Tax Benefits ◽  
Art Marketing ◽  
Private Collections

The purpose of the article is to investigate the mechanisms of sponsorship in the marketing of art in the art market in order to expand the opportunities for the population to visit institutions and events in the field of culture and art, where works of fine art are displayed. It is determined that in the field of fine arts sponsorship has certain features, because the sponsor provides assistance, strengthening its image, receiving advertising and PR. In addition, the desire of sponsors to make their own demands on the content and conditions of placement and demonstration of art collections is becoming a trend. The research methodology is to apply empirical and comparative methods. This approach allows us to reveal and analyze the possibility of applying the specifics of sponsorship as a technology to ensure public access to works of art in art marketing. The scientific novelty of the article is to identify marketing mechanisms that make it possible to make sponsorship in the field of fine arts comprehensively justified, regulated, fair and legal. Conclusions. We analyzed the conditions and opportunities for sponsorship, as well as opportunities for broad sections of the population to access works of art in Ukraine and other countries. It should be noted that there is a tendency in the world to "settle" famous works of art in private collections, to which only a limited number of spectators have access. Collections of state museums remain freely available to the general public, most of whom do not now have the opportunity to purchase very expensive works of art at auctions and galleries. Sponsorship in the field of art has its own specifics, because often the sponsor often not only demonstrates his help to museums, strengthening his image, reputation, but also tries to "dictate" museums and galleries their requirements for organizing museum exhibitions, the sequence of acquisition of new works in museum collections. Marketing technologies allow to regulate the work between sponsors and cultural institutions, to make this cooperation reasonable and fair. According to the experience of the countries of the world, the most effective type of "cultural economy" depending on the mechanisms of financing culture and art can be called "Anglo-American" type, where financing is carried out by attracting private capital, including tax benefits.

scholarly journals Purchasers of artworks on the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Art Market ◽  
Fine Art ◽  
Marketing Technology ◽  
Individual Product ◽  
Works Of Art ◽  
Art Research ◽  
Art Marketing ◽  
Private Collections

The purpose of the article. Research and analysis of marketing technology algorithms and study of motivations of purchasers of products of fine arts. The methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of purchasers of works of fine art and further research of marketing processes in the promotion of works of fine art in the art market. The scientific novelty consists in the expansion of ideas about the motivations of purchasers of works of fine art. The article explores the marketing processes in the art market. Algorithms of marketing technologies in the analysis of motivations of purchasers of works of fine arts are analyzed. That is, the article proves that in art marketing it is relevant and necessary to regularly study the algorithms of the behavior of purchasers of works of art, as well as in general - situations in which the collector decides on the purchase of works of art. Research in the field of art market marketing gives grounds to state that artistic creativity is a field of large and small business, which should deeply study and analyze the motivations of purchasers, involving specialists in psychology, sociology, economics. It should be noted that in the marketing of fine arts the technologies of studying and analyzing the motivations of the purchasers of works of art are purposefully and productively used. Conclusions. The article analyzes the models of acquisition of works of fine art. It is also proved that the behavior of the purchaser of works of art is determined by three mandatory components: Individual - Product - Situation, on which the model of consumption and consumer behavior is based. Thus, we have studied the individuals involved in the acquisition of works of art that are products on the market, presented in kind in museums or private collections. The success of art marketing depends not only on the personality of the artist who created the product presented on the market, not only on the solvency of the final purchaser of this product but also on the personality, creative and business qualities of dealers, distributors, and other intermediaries in the art market. At a certain stage, they also become purchasers of this product on the way from the artist to the final buyer - a museum or a private collector, etc. We also explored market algorithms for acquiring works of art in a collection.

scholarly journals A.F. Mantel’s Art Collection in Museums of the Volga Region: Reconstruction Experience

2019 ◽  
Vol 16 (4) ◽  
pp. 386-405
Author(s):  
Olga L. Ulemnova
Keyword(s):  
Russian Revolution ◽  
Volga Region ◽  
Art Collections ◽  
Literary Sources ◽  
The Social ◽  
Art Collection ◽  
The World ◽  
High Degree ◽  
First Time ◽  
Private Collections

A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.

scholarly journals "Local" consumption of art projects and motivation of the "local" consumers

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Marketing Research ◽  
Art Market ◽  
The Internet ◽  
Television Programs ◽  
Works Of Art ◽  
Art Marketing ◽  
Market Relations ◽  
Home Consumption

"Local" consumption of art projects and motivation of the "local" consumers The purpose of the article. Research and analysis of consumer motivations of fine arts products, based on algorithms of marketing technologies. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of consumers of works of art who prefer to be fascinated by fine arts through the Internet, social networks, television programs, followed by the use of research results in marketing processes to promote works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivation of consumers of the market of fine arts on the Internet, television programs, and in the study of further marketing processes in the art market. The article analyzes the algorithms of marketing technologies in the analysis of motivations for "home" consumption of products of the fine arts market. The article finds that in art marketing it is relevant and necessary to study the behavior of Internet consumers of works of art, analyzing the situation of "home" consumption of works of art. In art marketing, technologies for studying and analyzing the motivations of Internet consumers of works of art in promoting an art product on the art market are gradually being developed. Analysis of the motivations of Internet consumers of art markets makes it possible to more objectively segment the participants of market relations. Conclusions. The article identifies and analyzes the model of "home" online consumption of fine arts, as well as art projects, and, accordingly, describes the segment of online consumers of works of art at home using television, the Internet, and other means of communication. It is also proved that the behavior of the "home" consumer in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied Individuals who consume works of art and art projects, which in turn are Products presented in the form of printed or electronic images, and we have studied Situations of "home" consumption of works of art and art projects. Keywords: art market, marketing research, relationships of marketing, motivation of consumers of works of art, art projects, "home" consumption of works of art, behavior of consumers of art market.

scholarly journals Accrediting Private Collections To Serve the Public Interest in Art

2021 ◽  
Vol 44 (4) ◽  
Author(s):  
Andrew Toporoff
Keyword(s):  
Public Interest ◽  
Cultural Landscape ◽  
Public Display ◽  
Important Distinction ◽  
The Public ◽  
Public Benefits ◽  
Works Of Art ◽  
Museum Exhibitions ◽  
Private Collections

This Note is about the civic role of private collections of art. Specifically, it argues that private collections can and should be a fixture of the U.S. cultural landscape alongside museums, which are devoted to serving the public. To some extent, this already happens. Collectors often lend their artwork for museum exhibitions, for example, and some put their entire collections up for public display. Nothing better illustrates the convergence of owning art as an asset and for conspicuous public display than one entrepreneur’s business idea to sell prefabricated private museums: Why not make it easy for collectors, with readymade galleries to accommodate the Koons or the Basquiat? But this Note adds to commentators who wish to see a reform in private collecting so that the public benefits more from these collections than it does currently. This Note argues that the public interest calls for enhancing, not subordinating, the role of private collectors. Certain commentators argue that collectors should be compelled to act in service to the public, either by lending significant works of art to a museum or publicly displaying the works themselves.Behind such proposals lies the notion that private collections and museums are in tension, and that museums are a superior institution for benefiting the public, if private collections are capable of providing public benefits at all. Informing this intuition are the legal and normative differences between private and museum ownership. Museums are subject to certain obligations that collectors do not share, the rationale for which is that they vindicate the public interest in art. But it does not follow from this distinction that collectors, lacking these obligations, cannot also promote the public interest through their own actions. Private collections should play a complementary role to museums in serving the public interest. Private collections and museum collections are qualitatively different in meaningful ways. Furthermore, museums appear increasingly unable to effectively promote the public interest in art, at least without help. Thus, this Note proposes a regime that would harmonize the civic practices of collectors and museums while preserving the role of the collector. Part I explains the differences between collectors and museums with respect to ownership. One way to understand these differences is to say that while collectors mostly operate under general principles of property law, their art being their chattel, museums are subject to certain obligations on account of their charitable status and purpose. Building on the idea that these obligations exist for the benefit of the public, Part II describes how previous scholars have defined the contours of the “public interest in art” and introduces one paradigm in particular for reforming private collecting so that it serves the public interest. Part II then critiques this paradigm and shows why a different approach is necessary; in doing so, it makes an important distinction between proposals that focus on individual works of art and proposals that focus on collections in their entirety. Part III outlines an incentive-based system for achieving the desired reform under this new approach. Accrediting private collections that meet certain criteria for providing public benefits could motivate collectors to act civically and promote better practices for private collecting broadly, depending on the benefits associated with accreditation.

scholarly journals Marketing researches and promotion works of art in the fine art’s marketing

2021 ◽  
pp. 139-144
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Research Work ◽  
Art Market ◽  
Scientific Activity ◽  
Marketing Technology ◽  
Works Of Art ◽  
Declining Demand ◽  
Traditional Marketing ◽  
Art Marketing

The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.

Children’s art as document of the epoch

2019 ◽  
Vol 27 (1) ◽  
Author(s):  
Mariana Gurmidolova ◽  
◽  
◽  
Keyword(s):  
Fine Arts ◽  
Children's Drawings ◽  
Historical Events ◽  
Children's Art ◽  
Important Place ◽  
Spiritual Culture ◽  
Works Of Art ◽  
Children’S Drawings ◽  
The World ◽  
Source Of Information

The children’s art occupies an important place in the cultural space. Each child’s drawing reflects the culture of an epoch and therefore it can be investigated as a special document. Historical events, rituals, traditions, habits, clothing – everything is demonstrated in the children’s artwork. The children’s art language has specific features. It is generalized, spontaneous, expressive and schematic. All these characteristics give us reason to talk about children’s visual meta-language. In order to interpret children’s drawings correctly, we must know the principles of the meta-language. Each child’s drawing is a source of information about the tangible and spiritual culture of an epoch. Very often the children’s drawings possess some of the qualities of the works of art, created by mature artists. However, children’s art has its own principles, specific qualities and methods of creativity and therefore it is given a sovereign place in the world of fine arts.

scholarly journals Segmentation of art market in the fine art’ marketing

2021 ◽  
pp. 27-31
Author(s):  
Dmytro Akimov
Keyword(s):  
Market Segmentation ◽  
Methodological Approach ◽  
Fine Arts ◽  
Art Market ◽  
Fine Art ◽  
Art Markets ◽  
Works Of Art ◽  
Article Analysis ◽  
Market Areas ◽  
Art Marketing

The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the technology of segmentation of the art market. The article analyzes the algorithms of marketing technologies in the segmentation of the fine arts market. It should be noted that in the marketing of fine arts the technologies of segmentation of art markets and technologies of the positioning of works of art are purposefully and productively used. The segmentation of art markets enables to highly efficient identify and systematize groups of consumers and admirers of works of fine art in accordance with their goals and motivations. The main purpose of the article: analysis of the specifics of the implementation of classical marketing technologies (marketing researches, segmentation of art markets) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. It should be noted that the technology of market segmentation is actively used in the art market in works of museums, galleries, auctions. The technology of market segmentation allows regulating the processes of appearance and satisfaction of demand for works of art and their implementation.

scholarly journals Collectors as consumers of works of fine art on the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Marketing Research ◽  
Art Market ◽  
Art Markets ◽  
Work Of Art ◽  
Marketing Technology ◽  
Art Collectors ◽  
Works Of Art ◽  
Art Marketing

The purpose of the article. Research and analysis of marketing technology algorithms by studying the motivations of collectors as consumers of fine arts products. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of collectors as consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivation of collectors as consumers in the market of fine arts and in the study of further marketing processes in the activities of collectors of works of art. The article analyzes the algorithms of marketing technologies in the analysis of motivations of collectors as consumers of the art market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of collectors as consumers of works of art through the analysis of types of collectors, through the analysis of the processes of collecting works of art, through the analysis of situations of consumption of works of art. It should be noted that in the marketing of fine arts, the technologies of studying and analyzing the motivations of consumers of art markets in the promotion of works of art are purposefully and productively used. The analysis of motivations of consumers of art markets gives the chance to classify highly effective groups of consumers and admirers of works of fine arts according to their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by Collectors, and, accordingly, describes the situations in which certain groups of individuals (consumer segments) acquire or collect works of art. It is proved that the collector's behavior in art marketing is based on three obligatory components: Individual (Collector) - Product (Work of art) - Situation (Consumption of a work of art in the art market). It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied collectors as Individuals who consume works of art, which in turn are Products presented in kind in private (or other) collections, and we have studied the situations of consumption of works of art acquired in the collection. Keywords: art market, marketing research, motivation of consumers of works of art, collectors of works of art, behavior of consumers of art market.

scholarly journals The Photo Image of Artworks as an Instrument of Assessment and Attribution (the Case of Painting and Drawing by V. I. Shukhayev)

2020 ◽  
Author(s):  
Elena P. Yakovleva
Keyword(s):  
High Demand ◽  
Educational Work ◽  
Russian Art ◽  
Photographic Images ◽  
Works Of Art ◽  
The World ◽  
Artistic Career ◽  
Private Collections ◽  
Shed Light ◽  
Photo Image

This article explores the use of photographic images of art pieces as a tool for assessment and attribution, focusing on Vasily Ivanovich Shukhayev’s (1887–1973) paintings and drawings. Shukhayev was a famous Russian and Soviet artist, who contributed to greatly to Russian art during the six decades of his artistic career. The artist’s works are kept in many state museums and private collections in Russia and abroad, and are also in high demand on the antiques market. Assessment and attribution of his works is, therefore, a pressing issue. Previously photographs of the pieces made at the exhibitions or during the plein-air paintings by the artist himself, as well as other photographic materials showing the artist with his works or their fragments were believed to be of low importance to the experts. The most important photos are those made within the artist’s lifetime or which belonged to the artist personally, especially if they contain inscriptions on the back. Such photos help to understand what the missing pieces look like, to confirm authorship and the creation dates, to find its variations and copies, to detect fake works, to show the artist’s working style and work stages and sometimes to prove that the artist painted the painting over (typical for V.I. Shukhayev). Altogether, creating a compilation of photographic images of works lost or distributed over the world helps shed light on the painter’s artistic career, a task particularly important for research, for museums and exhibitions, for educational work for monographs and catalogues development. Keywords: photographic images, works of art, assessment, attribution, painting, drawing, V.I.Shukhayev

scholarly journals The Ideological Concept of the Monograph “Theatrical and Dramatic Collections of the World”

2020 ◽  
Vol 3 (1) ◽  
Keyword(s):  
Works Of Art ◽  
The World ◽  
Archival Documents ◽  
The Creation ◽  
Reference Tools ◽  
Theatrical Culture ◽  
Private Collections ◽  
Written Sources ◽  
Comprehensive Study

This monograph presents the first comprehensive study of museums and private collections of theatrical and dramatic profile. Addressing the origins of the creation and the process of formation of collections, the author focuses on the peculiarities of works and objects displayed in the exhibitions and stored in the collections of theatre museums of the world. The author devotes attention to the most interesting and significant collections of different countries. The presented rarities range from the rarest, unique things and works of art acquired in the time of the creation of the museum funds to the monuments of theatrical culture coming to museums these days. The author considers the specifics of theatrical collections, classifying them by type: theatre museums, museums in theatres, private theatrical collections, and dramatic museums. The majestic and chamber architecture of the museums located in the central squares and old streets of the cities leads the readers to the museum halls, where they can get acquainted with the theatrical heritage, touch the expressive and picturesque nature of the theatre language reflected in documentary photos, portraits, sketches of costumes and scenery, personal belongings of artists, written sources, and other materials. The monograph is written in the genre of review with extensive use of illustrative and reference tools, providing analytical conclusions for each chapter. The study is based on the use of art materials, archival documents in private collections, domestic and foreign museums, as well as catalogues of various collections and exhibitions.

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