视觉艺术展不仅仅是艺术吗

Q2 Economics, Econometrics and Finance Contemporary Management Research Pub Date : 2016-12-28 DOI:10.7903/CMR.14019
B. Manners, Hanneri Borstlap, M. Saayman
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Consequently, entrepreneurs and the private sector had to fill the void, with the result being that more art festivals were launched.One such festival is the Aardklop National Arts Festival (also referred to as \"Aardklop\"), which celebrated its sixteenth birthday in October 2013 (Botha, Viviers & Slabbert, 2012; Saayman & Saayman, 2006). This festival provides a quality platform for the promotion of the arts and supports the artist community while enriching the local society (Lee, Liu, Chung & Ho, 2015). Furthermore, Saayman, Douglas and De Klerk (2008) mentioned that Aardklop incorporates theatre, dance, music, cabaret and visual arts during a week-long programme at different venues in Potchefstroom. The focus of this study is the visual art exhibitions held at three different venues-namely, the North-West University's Botanical Garden, Sanlam Auditorium and Gallery. During Aardklop, these venues are used to display the art of up-and-coming artists as well as artists with a reputable status. According to Boll (2009), art galleries support and promote young artists by helping them develop and arrange exhibitions that attract collectors and buyers; art galleries are thus the intermediary or link to the art market. The number of people visiting festivals such as Aardklop (specifically, art galleries and exhibitions at festivals) is still on the increase (Higgs, Polonsky & Hollick, 2005; Slater, 2007). Most of the arts festivals in South Africa are younger than 15 years, but with this growth came a boom in visual arts and competition amongst art galleries, which has resulted in art organisations mirroring a business-like approach that emphasises revenue production, marketing and promotion (Higgs et al., 2005). Artists and arts organisations need an audience, and one of the main tasks of management is to build this audience (Boorsma, 1998). Rogoff, Lee and Suh (2004) further mentioned that internal and external factors are determinants of business success, including factors that are beyond the control of the manager. Management must therefore shift from an art-centred business to a more client-focused enterprise (Shaw, 2002). Introducing collaborative and effective marketing models (product promotion, market accessibility and networking) can thus lead to the diversifying of revenue sources by obtaining new audiences, products, venues and multi-art experiences (Kader, Mohamad & Ibrahim, 2009; Radbourne, 1997). This fact, according to Higgs et al. (2005) has stimulated a response on the part of the artists, who have become more concerned with effective management by means of different marketing and good service delivery. The different approach is becoming increasingly important, as research indicates that 55% of the respondents prefer to buy art at galleries. 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引用次数: 2

摘要

节日和活动是世界上旅游业增长最快的部分之一(戈尔德纳,里奇和麦金托什,2000)。自1974年南非首届国家级艺术节Grahamstown国家艺术节(Saayman & Saayman, 2006;雪球和韦伯,2008),这个国家经历了意想不到的节日增长。然而,这种增长只是在1994年之后才出现,具有讽刺意味的是,当时政府削减了艺术预算,因为政府更多地关注为该国不那么幸运的公民提供住房、教育和医疗服务(Belfiore & Bennett, 2007;Dobson & West, 1990;亨顿,1990;Morrison & West, 1986;瑞斯,2001;Saayman & Saayman出版社,2006)。因此,企业家和私营部门不得不填补这一空白,结果是推出了更多的艺术节。其中一个这样的节日是阿德克洛普国家艺术节(也被称为“阿德克洛普”),它在2013年10月庆祝了16岁生日(Botha, Viviers & Slabbert, 2012;Saayman & Saayman出版社,2006)。这个节日为艺术的推广提供了一个优质的平台,在丰富当地社会的同时支持艺术家社区(Lee, Liu, Chung & Ho, 2015)。此外,Saayman、Douglas和De Klerk(2008)提到,Aardklop在Potchefstroom的不同场地举办了为期一周的节目,将戏剧、舞蹈、音乐、歌舞表演和视觉艺术融合在一起。本研究的重点是在西北大学植物园、Sanlam礼堂和画廊三个不同的场地举办的视觉艺术展览。在Aardklop期间,这些场地被用来展示有前途的艺术家和有声望的艺术家的艺术。根据Boll(2009),艺术画廊通过帮助年轻艺术家发展和安排吸引收藏家和买家的展览来支持和促进他们;因此,美术馆是艺术市场的中介或纽带。参观像Aardklop这样的节日(特别是艺术画廊和节日中的展览)的人数仍在增加(Higgs, Polonsky & Hollick, 2005;斯雷特,2007)。南非的大多数艺术节都不到15年,但随着这种增长,视觉艺术和艺术画廊之间的竞争蓬勃发展,这导致艺术组织反映出一种强调收入生产、营销和推广的商业方式(希格斯等人,2005年)。艺术家和艺术组织需要观众,而管理的主要任务之一就是建立这种观众(布尔斯马,1998)。Rogoff, Lee和Suh(2004)进一步提到内部和外部因素是企业成功的决定因素,包括管理者无法控制的因素。因此,管理必须从一个以艺术为中心的企业转向一个更加以客户为中心的企业(Shaw, 2002)。引入协作和有效的营销模式(产品推广、市场可及性和网络)可以通过获得新的受众、产品、场地和多艺术体验来实现收入来源的多样化(Kader, Mohamad & Ibrahim, 2009;Radbourne, 1997)。根据Higgs等人(2005)的说法,这一事实刺激了艺术家的反应,他们更关心通过不同的营销和良好的服务交付来进行有效的管理。不同的方式正变得越来越重要,因为研究表明,55%的受访者更喜欢在画廊购买艺术品。这导致了本文的目的,这是确定在Aardklop国家艺术节视觉艺术展览的关键成功因素-换句话说,确定哪些管理方面的参观者认为重要的是满足他们的需求,并说服他们购买艺术品。根据Ralston, Ellis, Compton和Lee(2007)的观点,所提供服务的质量是一个动态的概念,它来源于对访客认为应该如何提供服务以及管理者如何尝试提供服务的理解。…
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Is There More to A Visual Art Exhibition Than Just Art
INTRODUCTIONFestivals and events are among the fastest-growing segments of tourism in the world (Goeldner, Richie & McIntosh, 2000). Since the Grahamstown National Arts Festival in 1974, the first national arts festival in South Africa (Saayman & Saayman, 2006; Snowball & Webb, 2008), the country has experienced an unexpected growth in festivals. However, this growth only came after 1994, ironically enough when the government cut budgets for arts due to a greater focus on the provision of housing, education, and health services to the less fortunate citizens in the country (Belfiore & Bennett, 2007; Dobson & West, 1990; Hendon, 1990; Morrison & West, 1986; Reiss, 2001; Saayman & Saayman, 2006). Consequently, entrepreneurs and the private sector had to fill the void, with the result being that more art festivals were launched.One such festival is the Aardklop National Arts Festival (also referred to as "Aardklop"), which celebrated its sixteenth birthday in October 2013 (Botha, Viviers & Slabbert, 2012; Saayman & Saayman, 2006). This festival provides a quality platform for the promotion of the arts and supports the artist community while enriching the local society (Lee, Liu, Chung & Ho, 2015). Furthermore, Saayman, Douglas and De Klerk (2008) mentioned that Aardklop incorporates theatre, dance, music, cabaret and visual arts during a week-long programme at different venues in Potchefstroom. The focus of this study is the visual art exhibitions held at three different venues-namely, the North-West University's Botanical Garden, Sanlam Auditorium and Gallery. During Aardklop, these venues are used to display the art of up-and-coming artists as well as artists with a reputable status. According to Boll (2009), art galleries support and promote young artists by helping them develop and arrange exhibitions that attract collectors and buyers; art galleries are thus the intermediary or link to the art market. The number of people visiting festivals such as Aardklop (specifically, art galleries and exhibitions at festivals) is still on the increase (Higgs, Polonsky & Hollick, 2005; Slater, 2007). Most of the arts festivals in South Africa are younger than 15 years, but with this growth came a boom in visual arts and competition amongst art galleries, which has resulted in art organisations mirroring a business-like approach that emphasises revenue production, marketing and promotion (Higgs et al., 2005). Artists and arts organisations need an audience, and one of the main tasks of management is to build this audience (Boorsma, 1998). Rogoff, Lee and Suh (2004) further mentioned that internal and external factors are determinants of business success, including factors that are beyond the control of the manager. Management must therefore shift from an art-centred business to a more client-focused enterprise (Shaw, 2002). Introducing collaborative and effective marketing models (product promotion, market accessibility and networking) can thus lead to the diversifying of revenue sources by obtaining new audiences, products, venues and multi-art experiences (Kader, Mohamad & Ibrahim, 2009; Radbourne, 1997). This fact, according to Higgs et al. (2005) has stimulated a response on the part of the artists, who have become more concerned with effective management by means of different marketing and good service delivery. The different approach is becoming increasingly important, as research indicates that 55% of the respondents prefer to buy art at galleries. This has led to the purpose of this paper, which is to determine the critical success factors of visual art exhibitions at the Aardklop National Arts Festival-in other words, to determine what managerial aspects visitors to art galleries see as important to satisfy their needs and persuade them to buy artworks.According to Ralston, Ellis, Compton and Lee (2007), the quality of the delivered service is a dynamic concept, derived from understanding both how the visitor believes that service should be rendered and how a manager attempts to provide a service. …
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Contemporary Management Research
Contemporary Management Research Economics, Econometrics and Finance-Economics and Econometrics
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