• Journal of Distribution Science
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• v.21 no.3
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• pp.113-121
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• 2023

Purpose: Online distribution channel alludes to the many different digital channels utilized in marketing and distributing goods and services to end users. The present research aims to explore and provide various retail strategy for the success of the art market within online distribution channel. Research design, data and methodology: The current author has conducted and investigate the qualitative textual methodology to take a look at carefully the current and prior literature dataset to achieve the purpose of the present research so that the present author could obtain total 27 relevant prior studies. Results: According to the comprehensive literature investigation, this research has found that there are six kinds of retail strategy for the prosperity of the art market within online distribution channel as follows: (1) Blockchain Technology, (2) Artificial Intelligence (AI), (3) Virtual Reality (VR), (4) Online Market Places, (5) Social Media, and (6) Regulations. Conclusions: The results of this analysis of the relevant literature show that the art market industry needs to adjust to keep up with the quickly shifting landscape of the digital world. In addition, although these technologies can be helpful in addressing difficulties linked to authenticity and transparency, they cannot eliminate the hazards of fraud and misrepresentation.

• Journal of Arbitration Studies
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• v.30 no.1
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• pp.199-215
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• 2020

Compared to Korea's recently expanding art distribution market, the difficulty of securing the authenticity of art is hindering the healthy development and growth of the market. In this regard, the current situation of the emotional system in the UK and France's art distribution process are examined as excellent cases in foreign countries. In the UK, there is a full autonomous appraisal system by art experts without state intervention. In France, the judiciary and the administration of art have an appraisal system for art works, so the appraisal work has reliability and objectivity. Through the above system, this study suggests measures to strengthen transparency in art trade and to break unfair practices in order to secure the authenticity of the domestic art distribution market. In addition, this study proposes the establishment of a professional appraisal system and the improvement of administrative law regulations to explore the possibility of ensuring fairness through mediation through the example of an international arbitration body.

• Journal of Service Research and Studies
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• v.11 no.2
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• pp.79-93
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• 2021

The size of the domestic art market has increased 21.9% over the past five years as of 2018 to KRW 448.2 billion and the number of transactions has also increased 31.6% to 39,367 points maintaining growth for the fifth consecutive year. Art distribution platforms are diversifying from galleries and auction-style offline to online auctions. The art market consists of three areas: production (creation), distribution (trade), and consumption (buying) of works and as the perception of artistic value as well as economic value spreads interest is also increasing as a means of investment. Consumers who purchase works and think of them as a means of investment technology have an increased need for objective information about their works, but there is a limit to collecting and analyzing objective and reliable statistics because information provision in the art market distribution area is closed and unbalanced. This paper identifies objective and reliable art distribution status and status through big data collection and structured and unstructured data analysis on art market distribution areas. Through this, we want to implement a system that can objectively provide analysis of authors in the current market. This study collected author information from art distribution sites and calculated the frequency of associated words by writer by collecting and analyzing the author's articles from Maeil Business, a daily newspaper. It aims to provide consumers with objective and reliable information.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.279-292
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• 2018

Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the 'Artist-centered Art Fair' rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the 'Visual Artist Market (VAM)' project of the Korea Arts Management Service. Results found that the 'Artist-centered Art Fair' focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the 'Artist-centered Art Fair' seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the 'Artist-centered Art Fair' through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.

• Korean Association of Arts Management
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• no.57
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• pp.33-58
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• 2021

The purpose of this study is to understand the impact of the subscription economy on the contemporary art market in terms of creation, consumption and distribution of artwork. To accomplish the aim of this study, we conducted a case study of Artnomic Gallery K borrowing the theoretical perspective from Alexander(2003)'s Modified Cultural Diamond model. In this paper, we collected data through reviewing the secondary document and conducting in-depth interviews with 10 experts and consumers in the art market. As a result, the subscription economy eases the traditional art trade, which is heavily focused on a small number of market arts, by encouraging artists to create various works. The transition to subscription in the purchase of art contributes to lowering the barriers to entry into the art market by reducing the financial burden on consumers in terms of consumption. In terms of distribution, this founding of this article shows that the experts of Gallery K are the main actors in selecting the works that consumers subscribe to. Therefore, in this study, it is of academic significance to discuss that the filtering effect of the distribution system emphasized by Alexander(2003) is effective even in the art trading system to which a new form of economic activity - the subscription economy - is applied.

• Trans-
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• v.13
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• pp.1-16
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• 2022

Recently, the method of contacting and purchasing NFT art has been popularly evolving, and various prospects and predictions for NFT art have emerged. The discussion of NFT art is mainly a hot topic in terms of market size, profit, and sustainability. As the transition to digital accelerated after COVID-19, almost all genres of culture and arts faced a forced transition with the topic of combining digital and technology, but in terms of profitability, it was generally difficult to guarantee positive continuity. On the other hand, the combination of art and blockchain, and the new distribution method called NFT, attracted a lot of attention by causing fundamental changes that lead to technological transformation, continuity through profit creation, and even genre expansion of visual art. The discourse on NFT and the art market is a recent phenomenon and is being discussed focusing on statistics and numerical reports through data from newspapers and art-related research institutes rather than academic analysis or research. However, discussions related to NFT art should be considered in various aspects, such as the incorporation of technology and art, changes in distribution methods, and changes in creative methods according to media changes, not just short stories of phenomena such as high prices and winning bids. In this paper, we would like to examine the impact of changes in creators and distribution methods.

• International Journal of Advanced Culture Technology
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• v.7 no.3
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• pp.149-157
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• 2019

Recently, the blockchain platform is changing the art market. Changes are taking place in many areas, including artists, collectors, art investors, and auction. The platform that provides distribution history information on artworks on a blockchain basis can be used when information on the work history is suspected or needs verification, and can be used to manage the distribution history information of stolen and lost artworks and confiscated artworks by the police. Several companies currently operate these platforms, but they operate various blockchain platforms according to their contents. In this paper, we will compare and analyze features of artworks blockchain platform.

• Journal of Distribution Research
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• v.12 no.3
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• pp.1-21
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• 2007

This study introduces 'Free Market' that was recently developed in front of Hongik university. 'Free market', as a place for transactions for art products produced by artists or prospective artists, is held regularly every Saturday in front of Hongik university. This study collected data through in-depth interviews with participants and participant observations at the market to analyze the success factors of 'Free Market'. We described development process, unique characteristics of 'Free Market' and new experiential values that the market provide to the participants. This free market was introduced as roadside stand in the middle of 1990s when some artists started selling their works. It passed through the growth stage after it staged the event that had mixed characteristics of 'flee market' and 'art market' at local festivals in 2001. In 2002 Sin-Chon culture forum directedculture-oriented market and the market has been developed as a current 'Free Market'. Recently 'Free Market' is comprised of steps, artists, and customers who voluntarily participated in the market. The market is held regularly every Saturday and provide various types of programs for the participants. Major characteristics of this free market were summarized as 'complex space' and 'role transition', and these characteristics provided the participants new experiential values such as 'freedom', 'emergent experiences', 'social interaction' and 'hero of festivals' through the participant role. We interpret that 'Free Market' has been successfully settled down as a new type of retail store based on these new experiential values. Therefore, this case provides very useful implications that unique experiential values that a store provides to the customers can be major sources of store competitive advantages.

• Journal of the Korean Data and Information Science Society
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• v.23 no.4
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• pp.825-832
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• 2012

We propose a novel way of forecasting the market shares of several brands simultaneously in a multiplicative competitive interaction model, which uses kernel regression technique incorporated with kernel machine technique applied in support vector machines and other machine learning techniques. Traditionally, the estimations of the market share attraction model are performed via a maximum likelihood estimation procedure under the assumption that the data are drawn from a normal distribution. The proposed method is shown to be a good candidate for forecasting method of the market share attraction model when normal distribution is not assumed. We apply the proposed method to forecast the market shares of 4 Korean car brands simultaneously and represent better performances than maximum likelihood estimation procedure.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.70-85
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• 2011

The study of the modern art market and distribution differs in its research focus from that of traditional art history, which traces and analyzes the works of master artists, their schools and influence, in that it attempts to approach such issues as art and society, and distribution and consumption of works of art, based on new research methods and perspectives. This paper examines the life and art collection activities of Park Yeong-cheol, considered to be one of the earliest major modern Korean art collectors. He graduated from the Japanese military academy and served as both a solider of the Greater Korean Empire and a high level officer of the Japanese army. After being discharged, he served as Governor of Gangwon-do and then Hamgyeongbuk-do, and after his retirement from public office, he became a leading businessman. He is well-known as a Japanese sympathizer who approved of and advocated for the aggressive colonial policies of the Japanese empire. As a cultural enthusiast and art collector, however, Park Yeong-cheol published the most accurate edition of Yeonamjip, and donated his collection to Geyongseong University at the end of his life, thus providing the foundation for the Seoul National University Museum. All of these activities are highly commendable. His interest in growing his collection of paintings and calligraphies was largely motivated by his love of paintings and Chinese poems,but it also appears to have been the result of his active collaboration with the Japanese government's policy of trying to discover the distinct, non-western characteristics of traditional Eastern art.