Arts Management Commons^™

Motivations In The Fine-Art Market: A Self-Determination Theory Approach, J. Paul Leavell

Atlantic Marketing Association Proceedings

Fine-art marketing research experiences friction that other arenas for marketing research do not. The product moved within this arena has subjective value with many drivers that can be difficult to quantify: The motivations of sellers and buyers may be different from what other marketing arenas experience (Marshall and Forrest 2011). The end price of fine art may have no relationship to the cost of inputs relying more on the demand driven by the artist’s reputation (Throsby 1994). Due to such challenges, the Academy has struggled in its contemplation of the marketing concept within this arena.

This paper will investigate the …

Rembrandt Versus Van Gogh: A Qualitative Contrast Study Applying A Visual Arts Valutation Model, Rene Desborde, Kimball P. Marshall

Atlantic Marketing Association Proceedings

Few marketing scholars have explored the field of fine arts marketing despite its significance as an area of economic activity and human creativity. Billions of dollars change hands annually in the worldwide visual fine arts industry (Velthuis, 2007; Clark and Flaherty, 2002), defined here to include various paintings, sculptures, and ceramics. This lack of academic attention might be because marketing scholars perceive that issues related to fine arts have little to do with marketing. It could also be that the unique characteristics of fine arts marketing are thought not to lend themselves to a traditional analytical approach to explain a …

Pricing In Opaque Markets: Paintings Old And New, Sharon V. Thach

Atlantic Marketing Association Proceedings

Pricing is one of the more difficult aspects of marketing management and poses interesting problems for economists trying to account for what are really a collection of microsales that are not well reflected in aggregate macroterms. The developed models and processes work best for mass produced products but grow increasingly problematic when products are intangible services or unique goods. This paper looks at paintings as a product within a specific “industry” , but many of the issues are similar to those in the professional services (law, medicine, education) and auxiliary services (consulting, IT outsourcing, insurance). There are also aspects of …