Media Strategies Russian Commercial Art Galleries Implement to Attract Target Audience

  • Kira Lutsishina Tsaritsyno Museum-Reserve
Keywords: gallery, media, audience, media strategy, social nets

Abstract

Being active both online and offline is a requirement for commercial art galleries to preserve and rise their attractiveness and competitiveness on the contemporary market.

Primarily I would like to come up with an answer to the following question: which media strategies should be developed to create an efficient interaction between commercial art galleries and potential art buyers on the Russian art market? I define media strategies as successive steps of the promotion of goods at the art market using media resources, in particular, social networks. Just presence of art galleries in social networks is not an equivalent to their successful positioning in the social space. Rapid response to emerging new opportunities, monitoring of trends in the media environment (for example, use of video broadcasts) allows to attract potential art galleries audience attention: consumers are beginning to be interested in what surprises them.

This research is carried out within the framework of competitive benchmarking. Examination of media strategies implementation based on Facebook, Instagram and official websites data in 28 Russian commercial art galleries which participated in Cosmoscow fair in 2016 supports this claim.

References

Arutyunova, A. (2015). Art market in the xxi century: the space of artistic experiment. Moscow: HSE Publishing House.

Beseller, J. (2016, October 04). Promotion and Advertising in Social Networks. Available at: https://beseller.by/blog/prodvizheniye-v-socialniyh-setiah/

Bourdieu, P. (1993). The Market of Symbolic Goods. In P. Bourdieu. (Ed.), The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press.

Brand Analytics. (2017). Analytics of the Brand Information Field. https://br-analytics.ru/.

Chak, A. (2003). Designing Persuasive Web Sites. Indianapolis: New Riders.

International contemporary art fair cosmoscow. (2017,October 4). https://cosmoscow.com/ru/

Dossy, P. (2011) Sold! Art and money. Moscow: Limbus Press, a Publishing House Tublina K.

Falk, J., and Dierking, L. (2013). The museum experience revisited. Walnut Creek, CA: Left Coast Press.

Fateeva, N. (2008). Art market as a system of social interaction. News of volgograd state pedagogical university, Vol. 8, 83-86.

Gere, C. (2008). New media art and the gallery in the digital age. In C. Paul (Ed.), New Media in the white cube and beyond: curatorial models for digital art. Berkeley: University of California Press.

Golman, I. (2013a). Art as a Goods: Paradoxes and patterns. Knowledge. Understanding. skill, Vol. 2, 205-212.

Golman, I. (2013b). Russian contemporary art market from the marketer’s point of view. Knowledge. Understanding. Skill, Vol. 4, 195-201.

Golman, I. (2014). Criteria of choosing a contemporary artist for active and passive investing in the art market. Knowledge. Understanding. Skill. Vol. 4, 137-147.

Grachev, V. (2008). Communicative space of the contemporary art market. News of the Herzen State Pedagogical University of Russia. Vol. 56, 197-203.

Grand arts. (2017). Grand arts, economist’s encyclopedia.

http://www.grandars.ru/student/marketing/benchmarking.html

Hay, J. (2016). Art Marketing and Audience Development. Available at: https://www.youtube.com/watch?v=a1xzNy7JDyo

Hjarvard, S. and Petersen L. N. (2013). Mediatization and Cultural Change. Journal of media and communication research, Vol. 54, 1-7. http://ojs.statsbiblioteket.dk/index.php/mediekultur/article/view/8123/6762

Klushina, N. (2014). Mediatization of contemporary culture and the russian national style. Russian speech. Vol.1, pp. 66-73.

Kostylev, S. (2014). Art management as a complex system of management activities in the field of culture, art and education. Modern Problems of Science and Education, Vol. 1.

Kotler, N., Kotler, P., and Kotler, W. (2008). Museum marketing and strategy: designing missions, building audiences, generating revenue and resources. Hoboken: John Wiley & Sons.

Kozlova E. (2015). Mediatization of culture and myths of our time. Modern Research of Social Problems. Vol.8 (52), 428-438.

Loginova, E. (2010). Methodological principles and main directions of gallery activities (on the example of private art galleries of the South Urals). Bulletin of the South Ural State University. Series: Social and Human Sciences, Vol. 8(184), 30-34.

Maximinova, A., Ryomina, S. and Lobanova, L. (2016). A guide how to research museum visitors. Moscow: The Polytechnic Museum.

McLuhan, M. (2002). Understanding Media – The Extensions of Man. Corte Madera, CA: Gingko Press.

Pro SMM. (201, October 4). Just about Facebook and Instagram. Available at: http://www.pro-smm.com/

Savchenko, E. (2017, July 24). How to open a gallery in Russia during crisis times. Buro, 24/7.

https://www.buro247.ru/culture/arts/24-apr-2017-how-to-open-an-art-gallery-in-russia.htm.

Schewe, C. and Hiam, A. (1998). The portable mba in marketing. New York: Wiley.

Schurenkov, A. (2016). Art and youth: the founder of the "fragment" gallery talks about the art business. RBC Style.

http://style.rbc.ru/view/art/5864ee329a7947b0a3cd54c3

Seabrook, J. (2012). Nobrow: the culture of marketing, the marketing of culture. Moscow: Ad Marginem Press.

SimilarWeb. (2017,October 4). https://www.similarweb.com/

Slocum, P. (2010). New media and the gallery. Artlies, Vol. 67. http://www.artlies.org/article.php?id=1993&issue=67&s=0

Sukharev, A. (2013). Art market: the dynamics and current state. Finance and Credit, Vol. 45, (573), 19-24.

Published
2018-04-03
How to Cite
Lutsishina, K. (2018). Media Strategies Russian Commercial Art Galleries Implement to Attract Target Audience. Postmodernism Problems, 8(1), 18-41. Retrieved from https://www.pmpjournal.org/index.php/pmp/article/view/27