This analysis focuses on the various aspects of arts marketing and evaluates whether the different conduits for arts sales could be considered as efficient in their sales and marketing approach.
The sales outlets for marketing of art products largely depend on direct consumers, festival or exhibition visitors and also on sponsors. Olkonnen et al (2000) argue that there is little or no academic interest or research studies on the phenomenon of commercial sponsorship on arts, sports and media events. Sponsorship as a study of marketing management is largely defined by marketing mix and mass communication and Olkonnen et al claim that sponsorship could be better defined by applying the approach towards networking and interaction. Networking in marketing of arts focuses on understanding the dynamics of sponsorship as a method of networks and relationships and also interpersonal communication rather than sponsorship as a measure of effects on the audience or consumers.
The art festival is one of the major marketing tools through which a large number of art enthusiasts could be assembled to focus on both the academic and the commercial aspects of art. Waterman (1998) writes that despite the prominence and ubiquity of such art festivals these festivals have not been studied or researched to an appropriate degree. These art festivals serve as a platform for new artists and also from a social perspective transform places and settings into environments thriving with the production and processing ad even consumption of the very essence of culture which seem to be available within a specific location. The way a particular culture in manifested and projected becomes very obvious in festivals and festivals play a major role in highlighting cultural aspects of art apart from being a major conduit for the sale and marketing of arts. Waterman (1998) goes a bit further in discussion the implications of these festivals and suggests that support for arts is a process used by elites to distance themselves from the other classes of society. Thus being a patron of arts marks out someone as member of refined or higher social class. However the changing nature of festivals is obvious as from being traditionally innovative and being controlled by artistic directors, these festivals are now increasingly controlled by marketing managers and agencies who have been transforming arts into an industry with a strong potential for marketing and attracting consumers at a large scale. Arts festivals are now seen as serving the dual purpose of marketing the arts products as also advertising the place in which such festivals are held and thus tend to attract sponsors and agencies that have many different marketing approaches and motivations. Waterman (1998) suggests that the concept of festival for arts and economics may be related to tensions between culture and cultural politics.
Direct marketing of art objects is one of the more traditional and common ways of marketing and selling art products. Arnold and Tapp (2003) suggest that direct marketing is being increasingly used by non profit organisations to reach consumers, raise sales and revenues and improve long term consumer relationships. In case of selling of arts