THE NATIONAL UNIVERSITY of SINGAPORE

NUS Business School: Department of Marketing

AY2012/2013 SEMESTER 1
MKT3423 Consumer Culture Theory

Individual Assignment: Drivers of Art Consumption & the Roles of Art Galleries

Prepared by: Ho Hui Yan Jemma (U081879N)

Lecturer: Professor Tambyah Siok Kuan Date of Submission: 26/10/2012

Introduction In most consumer markets, different segments exist and market players adopt specific strategies to reach their target segment. Building on this assumption, two art galleries were observed to explore the drivers of art consumption for different segments and identify how galleries, through understanding these drivers, take on different roles to attract their target. Geographical locations of the galleries were used as proxies to identify different customer segments. To set a comparable frame, the galleries were similar in most aspects except for location. Specifically, both galleries feature contemporary eastern visual art, and operate in the primary art market. However, Images of China (Images) is found along Singapores major shopping belt at Paragon Shopping Centre while Mizuma Gallery (Mizuma) is located in Gillman Barracks. Insights were gleaned through observations in the galleries and informal interviews with gallery managers. Following this introduction, drivers of art consumption in in different segments are identified. After which, this essay examines how galleries take on different roles to fulfil these drivers and effectively appeal to their target audiences. Drivers of Art Consumption To attract their desired audience, galleries must identify what drives their target to consume art. In line with Chen (2008), conversations with gallery managers revealed that both consumer segments collect for aesthetic purposes. However, Images consumers collect to display social standing, whereas Mizuma consumers focus on spiritual nourishment (Belk, 1995), passion (Chen, 2008) and making investments.

With regards to investments, Mizuma indicated that consumers consider art for investment purposes as it is currently one of the safer assets (See Table 1). GALLERY DRIVERS OF ARTWORK COLLECTION Images of China Aesthetics Display social standing Mizuma Gallery Aesthetics Spiritual nourishment Passion Making investments

Table 1: Drivers of Artwork Collection

Roles of Art Galleries After understanding what drives consumers, galleries play a combination of roles to attract consumers (drive demand) and influence artists (drive supply). Four roles have been identified: (1)supporting the artist, (2)mediating between artist and the public, (3)meeting consumers needs profitably, and (4)educating consumers on evaluation of art. As a result of different drivers of artwork collection for different segments, Images and Mizuma have common and diverging roles that they play to meet consumers needs. Common Roles Common roles that both galleries play include supporting the artist and mediating between artists and the public. To support the artist, the galleries play different functions to ensure that the supply of artwork is maintained. The first is as a power broker, where galleries lobby for artists and promote their work. In addition, galleries also function as cheerleaders when artists need encouragement, nannies when handholding, direction and discipline are required, and friends when artists need emotional support.

In addition, both galleries function as mediators between artists and the public. Galleries in the primary art market help artists establish themselves by providing them access to the market. Though Morgan (1998) and Sandler (1996) highlight the need for a reputable fine arts degree in establishing oneself as an artist, findings indicate that an artists success stems from strong connections with galleries rather than qualifications. Not only do galleries provide artists a vehicle through which to connect with audiences, the number and reputation of galleries that an artist has shown in is widely used in the art world as a gauge of success. Diverging Roles Due to the nature of their clientele, the galleries diverge on how they meet consumers needs profitably and educate consumers on evaluation. Though both galleries aim to meet consumers needs profitably, their approach differs. Located at Paragon, Images tends to attract casual art lovers who are driven primarily by aesthetics and a need to display social standing. In addition, their clientele range from the common man to the upper classes. As such, they focus mainly on two kinds of decorative art works, appealing to both class segments attractive yet affordable (from SGD2,000) embroidery on canvas, and exquisitely painted watercolours (from SGD50,000) for those with higher economic capital. In comparison, Mizuma appeals solely to serious collectors looking to invest in Asian art. As such, they practice high standards in selecting artists to represent, honing their skills in order to appeal to their target market. For example, their current exhibition of Korean artist Hyung Koo Kang was carefully curated and features aluminium panel paintings (from SGD115,000). Also, observation of dcors show that Images places profit over art appreciation, adopting a functional approach to

displaying their art (maximizing space) rather than maximizing the viewers experience. Lastly, both galleries play a role in educating consumers on art evaluation. Both galleries subscribe to showings at reputable institutions and art critic validations as valid indications of an artists worth. In addition, with regards to a generalist or particularist approach to evaluation, both galleries adopt the balanced approach proposed by Garbarino and Johnson (1999), evaluating on personal connection, enjoyment and liking, and also on the level of craftsmanship. Though Images concludes its evaluative standards here, Mizuma moves beyond enjoyment and craftsmanship into considering generating emotional reactions in order to create spiritual nourishment and build passion. As proposed by Hirschman (1983), Mizuma encourages an additional dimension of evaluation, examining negative effects that an artwork elicits such as stimulation, discomfort and challenges. Their belief is that good art stretches the mind and pushes one out of ones comfort zone. Examples of artwork from the galleries illustrate the differences between the two evaluative

schemas. For Images, paintings such as Figure 1 are highly regarded, as they are enjoyable and have high level of craftsmanship. However, Mizuma proposes that art should be more engaging. For example, Kangs portraits are wellknown for capturing the phenomenon of the fixing of the gaze in the meeting of any two people (See
Figure 2: White Tiger from Mizuma Gallery Figure 1: Watercolour from Images of China

Figure 2). Kangs aluminium panel painting of the white tiger staring with fangs bared is incredibly life-like, and though initially uncomfortable, engaging the tiger in a staring match opens the mind to its anger, ferociousness and yet unwaveringly majestic nature. Conclusion In summary, this essay has identified two customer segments which exist in the art market, assessed what drives them to consume art, and explored how two art galleries in Singapore have taken on certain roles to meet the needs of their customer segment.

Bibliography

Belk, R. (1995). Collecting in a Consumer Society. Routledge. Chen, Y. (2008). Possession and access: Consumer desires and value perceptions regarding contemporary art collection and exhibit visits. Journal of Consumer Research, 35, 925-939. Garbarino, E., & Johnson, M. S. (1999). The different roles of satisfaction, trust and commitment in customer relationships. Journal of Marketing, 63(2), 70-87. Hirschman, E. C. (1983). Aesthetics, ideologies and the limits of the marketing concept. Journal of Marketing, 47(3), 45-56. Morgan, Robert (1998). The End of the Art World. New York: Allworth Press. Sandler, Irving (1996). Art of the Postmodern Era. New York: Harper and Collins