• 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.

• Korean Association of Arts Management
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• no.58
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• pp.179-204
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• 2021

Not only the consumption trend after the COVID-19 pandemic but also low financial interest rates have stimulated people to invest artworks. With the recent noticeable growth, art investments that mainly conducted by younger generation through online platform can be characterized by a fractional ownership in art market which means several people share one piece of artwork. This study explores 4 fractional ownership platforms in the domestic art market including Art Together, Art & Guide, Tessa, and Pica projects, using a business model canvas that describes nine key elements: Customer Segments, Value Proposition, Channels, Customer Relationships, Revenue Streams, Key Resources, Key Activities, Key Partners and Cost Structure. The four cases have similar business models, but the details of revenue streams are different. The key sources of revenue are the profit and commission of the work. Thus, maximizing the profit margin of artworks is the core of revenue streams, so selecting and purchasing highly profitable artworks are significant. Based on the analysis, there are 3 suggestions to continue fractional ownership platform businesses in art market successfully. First, it is required to have a long-term perspective on art investments, as a way to diverse asset portfolio. Second, business confidence should be increased to maintain customer loyalty. Third, the role of platforms as competent experts is important.

• 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.

• Journal of Korea Society of Industrial Information Systems
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• v.27 no.5
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• pp.61-72
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• 2022

Web 3.0 is also called the "next-generation Internet" and is a new concept that started in 2018 and is attracting attention as the beginning of the "distributed Internet era". As Web 3.0 became mainstream, non-fungible tokens (NFTs) serving as content as services were distributed, and companies started to introduce NFTs in their marketing campaigns. This is because NFTs can be used to promote brands to new consumers. In this study, using Japan's 「HARTi」 NFT Art as an example, we investigate a new method using urban infrastructure and spaces, not NFTs that exist only in the Japanese art market and online. By analyzing social issues following the introduction of a new digital marketing method based on NFT Art, we will discuss issues and countermeasures in the domestic NFT Art market and present a positive outlook.

• International Commerce and Information Review
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• v.7 no.4
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• pp.59-76
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• 2005

In this research, electronic commercial web-sites of artwork are analysed with ten marketing success factors such as, low price, variety of products convenience of shopping, ensure credibility DB marketing, providing information, virtual community, preoccupying the marketing, quick response, and strategic cooperation. The analysis showed that the main problem of the Korean fine art market is the lack of demand. Though the problem of the offline fine art market is not to be solved by websites, it seems that the solution should be brought through the operation of websites with long-term plans and patience.

• 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.

• Review of Culture and Economy
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• v.21 no.1
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• pp.85-104
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• 2018

The studies related to the price of artworks have focused on how factors that are determined on production level, such as artists and the artwork materials of the studies, affect the artwork prices. As 'Dansekhwa' is in the spotlight within local Korean art auction matket, this study would like to analyze the trend of the price changes of 'Dansekhwa' with its growing popularity among the public. We have estimated the price changes based on 4,199 auction data of 20 artists with top 20 auction prices selected by the Korean Art Price Appraisal Association, between 2005 and 2016. Also, in order to compare and analyze the price changes of the 'Dansekhwa' products, we have classified the 20 artists into groups of Dansekhwa and non-Dansekhwa. Starting from 2013, when Dansekhwa has first appeared, we applied the Difference in the Difference model(DiD) to estimate the result. As a result, the difference between two groups showed 71% of price difference due to the increase in popularity of Dansekhwa. This result proves that recognition level has an important role for increase in price of an artwork. Moreover, the fact that the formalized style of Dansekhwa has linked to the appreciation of the price means that production of information could play an essential role in growth of art market. As recognition level of Korean artists and their artworks is considerably low within the local art market, putting in the effort to increase the popularity of artworks among the public might be a helpful way to magnify the potential demand.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.6
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• pp.1189-1204
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• 2020

Population aging and longevity have compelled major worldwide consumer markets to focus on senior citizens who exhibit a desire to nurture their appearance and obtain related products such as cosmetics. This trend signals an increasing need for in-depth research on elderly consumers in the color cosmetics market. This study identified the characteristics of seniors in the pre-elderly stage ("new seniors") based on their lifestyle and market segments. It employed online surveys with participants consisting of pre-elderly Korean women born between 1955 and 1963 who reside in the greater Seoul and Gyeonggi area. The study used SPSS 23.0 for factor analysis, reliability verification, cluster analysis, ANOVA, Duncan's test, and cross-analysis. The results show that new seniors could be classified into four groups based on lifestyle: Prime Seniors, Potential Seniors, Rational Seniors, and Slump Seniors. Each group has distinct characteristics. The findings suggest that the senior market requires further segmentation and is no longer a single uniform market. This study also confirms that the lifestyles of the elderly is an instrumental variable for their segmentation.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• (The) Research of the performance art and culture
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• no.18
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• pp.449-480
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• 2009

In this paper, I tried to study the change of the Chinese performing arts market during the 10th 5year development plan, from year 2001 to year 2005 by both of the quantitative and qualitative analysis, because it's really the time when we need to understand the growing market of chinese culture along with the development of the Chinese cultural industry. During that period, the Chinese government developed the policy to establish a healthy cultural market and strengthen it's cultural power; the parts who product the piece of performing arts including the performing troupes, the theatres and the production companies were consolidated and became familiar to market through the reformation of the organization; and the audience who consume the performing arts and entertainments still shows very Chinese characteristics in the cities and villages. In the village, the audiences invite the troupe to play their local theatre in many occasions of their life according to their traditional beliefs, also somehow to show their wealth. The fact that the local governments and the companies are very important consumer groups in China is also very 'Chinese' characteristics. It means that Chinese performing arts are still more or less under the influence of the political ideas. Nonetheless it is worthy of notice that Chinese performing arts not only develope the new contents in very creative way and also try to learn the knowhow of the excellent items of foreign countries by inviting them to the festivals or organize a co-productions on the basis of the upgraded cultural power through the 10th 5 year development plan.