The purpose of this article is to study what platform-related user factors influence the employment potential of a lean platform for self-employed professionals.
Abstract
Purpose
The purpose of this article is to study what platform-related user factors influence the employment potential of a lean platform for self-employed professionals.
Design/methodology/approach
The article employs the system data of a Dutch platform firm, which include consumers looking for painters (N = 17,224) and self-employed painters (N = 1,752) who pursue client acquisition by submitting proposals (N = 101,974). This data is analysed using non-parametric tests.
Findings
Study of this platform shows that the platform functions as a channel of acquisition for self-employed professionals. This lean platform enables matching of information of supply and demand, thereby facilitating processes of acquisition. The number of competitors, distance to a potential job and non-standard proposals are statistically significant factors that influence whether a consumer is interested in a proposal. Effect sizes are very small.
Research limitations/implications
This platform is a two-way market for information about service jobs, which excludes a price setting mechanism. The findings of this study cannot be generalized to other forms of platforms.
Practical implications
The market for service professionals is very local; therefore, the platform firm may alter the algorithm to accommodate this. Self-employed professionals should approach using the platform in the same way as normal forms of acquisition.
Social implications
This particular type of two-sided market is an extension of regular forms of acquisition by creating “weak ties” through the platform.
Originality/value
The article uses a unique data set to study the impact and limitations of digitalization of the (labour) market for service professionals.
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This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern…
Abstract
Purpose
This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present.
Design/methodology/approach
Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology.
Findings
We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible.
Research limitations/implications
A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market.
Practical implications
The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers.
Originality/value
This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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Syed Tauseef Hussain, Saira Hanif Soroya and Kanwal Ameen
This study aims to explore visual artists’ image needs and the obstacles they face in meeting them.
Abstract
Purpose
This study aims to explore visual artists’ image needs and the obstacles they face in meeting them.
Design/methodology/approach
The visual artists, participating in the study, included painters, graphic designers, textile designers, architects and sculptors who were faculty members in two oldest art institutions of Pakistan. A total of 20 face-to-face interviews representing four participants from each visual artists group were conducted. The textual data were analyzed thematically, using NVIVO 12 software.
Findings
Results showed that under-study visual artists need images mainly for academic purposes (teaching, assignments, etc.) and for professional and research purposes. However, they require images quite often, as a majority of the respondents told that they need images on daily basis.
Social implications
The study findings provide an insight for information science professionals, system designers and image librarians regarding visual artists’ image using behavior.
Originality/value
As the researchers could not find any such study in local context, and a very few globally, therefore, this study may serve as a baseline for further research in this area.
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Alessandro M. Peluso, Giovanni Pino, Cesare Amatulli and Gianluigi Guido
This research advances current knowledge about art infusion, which is the ability of art to favorably influence the assessment of consumer products. In particular, the research…
Abstract
Purpose
This research advances current knowledge about art infusion, which is the ability of art to favorably influence the assessment of consumer products. In particular, the research aims to investigate the effectiveness of artworks that evoke their creators’ most recognizable style in luxury advertising.
Design/methodology/approach
The research encompasses three studies – two conducted online and one in a real consumption situation. The first study explores the effect that a recognizable vs non-recognizable painter’s style has on consumers’ judgments about luxury products. The second and third studies explore the moderating roles of desire to signal status and desire for distinction, respectively, which are relevant to advertisers interested in targeting these individual differences.
Findings
Advertisements that incorporate artworks that evoke a painter’s most recognizable style enhance the advertised products’ perceived luxuriousness. Consumers with a higher desire to signal status exhibit greater purchasing intention in response to recognizable artworks. By contrast, consumers with a higher desire for distinction exhibit greater purchasing intention when the painter’s style in the featured artwork is less recognizable.
Practical implications
The results provide marketers with suggestions on how to select and incorporate visual artworks into luxury brand communication: they could focus on recognizable vs non-recognizable artworks based on whether their main goal is to communicate status or distinctiveness.
Originality/value
This research offers novel insights into the practical value of art infusion by showing when and for whom the beneficial effects of pairing art with luxury products are more likely to occur.
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Ruby Roy Dholakia, Jingyi Duan and Nikhilesh Dholakia
The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling…
Abstract
Purpose
The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production.
Design/methodology/approach
In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth.
Findings
In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed.
Practical implications
The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods.
Social implications
The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development.
Originality/value
Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.
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IT WOULD BE an impertinence to Constable for anyone not specifically devoted to art to criticize his paintings. Anyhow this has recently been done with a good deal of réclame. His…
Abstract
IT WOULD BE an impertinence to Constable for anyone not specifically devoted to art to criticize his paintings. Anyhow this has recently been done with a good deal of réclame. His taste in reading is quite another matter, and even an historian may venture to discuss it.
The general aim of this paper is to shift the interest in two particular stakeholders, the entrepreneur and the company itself, from a vision based on a company perceived as a…
Abstract
The general aim of this paper is to shift the interest in two particular stakeholders, the entrepreneur and the company itself, from a vision based on a company perceived as a stock package towards an aesthetic perception of its creation. It intends to link creative entrepreneurship and creativity in the arts. Emanating from the phenomenological thought of Maurice Merleau‐Ponty on artistic vision, this research intends to read the motivations of a creator by a calling, that amounts to a counter‐gift to the beauty of the world. This motivation to create can be articulated in two non‐financial impulses: to dis‐cover and to correct. A sketch portrait of a French entrepreneur is depicted to illustrate the urge to create a small business. A stakeholder understanding is suggested, taking into account schutzian multiple orders of reality.
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Autonomy, unity, identity: these three themes and ideals have been pursued by nationalist thinkers everywhere since Rousseau and Herder (Hutchinson & Smith, 1994). Zionism…
Abstract
Autonomy, unity, identity: these three themes and ideals have been pursued by nationalist thinkers everywhere since Rousseau and Herder (Hutchinson & Smith, 1994). Zionism, founded in Europe at the end of the nineteenth century,1 is a particular case of a national movement, putting into practice the idea of a political community located within the boundaries of a single nation-state. Yet, at the same time, the Jewish nation-building process, which began in Palestine in 1881 and achieved its aim of independence in the spring of 1948, with the establishment of the State of Israel under the political leadership of the Labor movement, was unusual in its complexity and marked, from its inception, by dramatic struggles over the distribution of power.