The situation is almost the same as in New York, a cultural center wherein a recent Van Gogh exhibit drew crowds bigger than the combined Redskin’s home games. (Savageau 2007, p. 101)
the Berlin art scene divides sharply into east and west, the latter containing the expensive, more established galleries in Charlottenburg and Tiergarten and the former reflecting the current energy and attention. The area around the Augustustrasse in Mitte, which became the breeding ground of wild and crazy art in the first years after the Wall, is now known as the "Art Mille" - after the many galleries that have sprung up along its streets.
The survival of many art galleries in Berlin deserve to be investigated. For art galleries to succeed, wrote Owen, a lot of complementary infrastructure is needed, on both the supply side and the demand of marketing side: “On the supply side… art required a training network and an intense native ethos. On the marketing side, success required a thick market of sophisticated, well-placed buyers and an active set of dealers and secondary institutions. (p. 68-69) What really makes an art gallery tick? Or, more specifically, what kind of gallery will be successful and survive in Berlin? This paper will investigate this issue and for such purpose, the following secondary objectives will be pursued:
This study will primarily use the qualitative method of inquiry. What this means is that the author will exhaust available document on the subject of the study both from the organization itself and third-party records. Case studies will be employed in order to present authoritative findings by functioning as reference points in the discussion. It must be underscored that, in the past, quantitative method could have sufficed but today, the dynamics in research has changed. Denzin and Lincoln (2005) maintained: “Rapid social change and the resulting diversification of life worlds are increasingly