Welcome to FAM!
Art in jungle of public!
We're talking about images and more specifically about the "image market". About the requirements of Global Markets and the enormous importance of advertising and marketing that have changed every industry completely. From former Bohemianism to a highly competitive competition - "That's the way it is ...!”
How to participate today useful and effective to supply artworks to their destinations or buyers? What strategies are right ones? Considering that the "sensitive products"- namely the images itself - then you can see the many possible and impossible aspects of professional access approach.
Images are not consumer goods in the normal sense. They fulfill neither basic need, nor they have any other "practical" benefits. Therefore, the marketing and promotion of art is an important and difficult task in the field of social culture - and price policy.
Images are "ideal" value added, are mind-constructs and image prices are not "real" to quantify or to identify. The market value and accordingly the image rate is largely determined by the market demand. Economic aspects regulate the demand and thus the rates of images.
In these times of Internet policy the global market has become almost unmanageable. It’s a jungle and it is important to find the right and best way. Main task and destination of Fine Arts Management is to find this path and to position the artworks properly in the global marketplace.
Any kind of Art must be decoded by the viewer and requires a sensitive approach in the representation and sales communications. Our aim is to find potential buyers to interested them and to give truthful information’s about the value of the artworks. The background of the artist will be shown and the recipient will be thrilled to appreciate the whole concept. Image originals (such as limited editions) or paintings are not inflated mass commodity, but mental constructs. Art is not democratic at all, but according to their nature elitist.
In order to make a good brokerage and representational tasks we are working with the artist already on the base. Through our "Art-Editing" we grab early into the organization of structures. We design concepts for various requirements (such as exhibitions, publications, art presentations, event - and sponsoring projects) and we work structurally on art networks to determine the right audience.
The entire art-management is fundamentally a process of defining, designing, implementing and transmitting the artist and his important role in society. It's about the philosophies in the background and to communicate about comprehensive artistic self-images. Above all, it comes to exhibit our art works in a greatest 'possible quality - and public representation.
Rosemarie Schneider
