Alfred's marketing strategy

下面51due教员组为大家整理一篇优秀的代写范文- Alfred's marketing strategy，供大家参考学习。这篇文章讲述的是作为全球规模上最有影响力的艺术品经销商之一，阿尔弗雷德（Alfred）在促进跨国家边界的艺术交流方面取得了杰出成就，仍然在现代社会中发挥着巨大影响。本文旨在从客观和客观的角度分析阿尔弗雷德的营销策略。具体来说，第一部分将简要介绍阿尔弗雷德（Alfred）的个人背景及其艺术使命。除此之外，本文的重点将放在分析阿尔弗雷德（Alfred）的促销策略以及通过与其他竞争对手比较其营销策略来评估他的方法。
Alfred's marketing strategy
As one of the most influential art dealers in the global scale, Alfred still exerts enormous influence in modern society because of his outstanding achievement in promoting artistic communication across national frontier. This essay aims to analyze Alfred’s marketing strategies, both critically and objectively. To be specific, there will be a brief introduction of Alfred’s individual background and his artistic mission in the first part. Along with that, the emphasis of this essay would be on the analysis of Alfred’s promotion strategies as well as the evaluation of his approaches by comparing his marketing strategies with other competitors.
Introduction of background information
Alfred Stieglitz, who was a well-known an American photographer, also contributed significantly to the art promotion in the western world. He had spent his life in living the Germany and the America during his childhood and adult period respectively, from which he was able to appreciate various styles of painting artworks in these different countries. Then, he realized that there was a need for him to build the communicating bridge among these artworks created under the different cultural soil (Rosenfeld, Paul & Harold, 1934). According to the illustration in his biography, it had been claimed that Alfred decided to devote himself to the popularization of diverse painting works across national and cultural barriers (Whelan, Richard & Alfred, 1995). This could reasonably explain why he spent huge time in working as an art dealer.
In fact, in the art history, Alfred is invariably regarded as a notable modern art promoter as he has made significant contribution to advertising European paintings throughout the American society (Berger, 2014; Rich, 2016). During his lifetime, he had established several galleries in different periods, where he exhibited both European and American artists’ works and sold them to the public as well. Hence, these galleries played a crucial role in enabling modern paintings to be introduced to the American customers. Most of these art galleries, actually, had been viewed as the vital places for facilitating the promotion of artworks in America. Thus, the establishment of such galleries could be a pivotal part of Alfred’s whole marketing strategy.
Analysis of marketing strategy
In terms of Alfred’s marketing strategies, it seems that there are two main features booting both the marketing efficiency and effectiveness. On the one hand, Alfred built a number of art galleries, in which he was able to create new relationships with both suppliers and customers. First of all, as mentioned before, the intension for Alfred to operate galleries is to recommend a wide style of artists and their artworks to the public. Specifically, he owned or operated several galleries during his lifetime, the most infusive one could be the “291” gallery (Leavell, 2013). From 1907 to 1917, Alfred spent a great deal of time in holding exhibitions and creating shows in the “291” gallery. Due to the diversity of artworks exhibited in Alfred’s shows, it was more likely to attract and meet customers for various social statuses. As (Daigle, 2015) pointed out, not only the celebrities could be his customers, but also the ordinary customers could obtain their favorite and affordable drawings in the shows held by Alfred. Such shows, therefore, could generate vast opportunities for Alfred to exploit potential customers among different social classes. In other words, those galleries served as an essential platform, where Alfred was able to develop and maintain his customer relationships. Meanwhile, the operation of his galleries also help him to enlarge the scope of his social networks, from which Alfred was able to meet substantial artists and collectors from diverse backgrounds. This view is based on the fact that many artists were interested in joining the Alfred’s shows because of the remarkable impacts of both the Alfred himself and his exhibitions at that time (Kohn, 2106). It is understandable for many artists, especially those young artists and newer practitioners, to desire to show their artworks in the Alfred’s gallery. After all, the influence of Alfred’s shows could advance the popularity and sales of their works a great deal. This could be similar to collectors. If they attempted to sell their collections, Alfred would be a primary choice for many of them since he was famous for promoting artworks to the whole society in his times. From this perspective, galleries should be treated as a valuable source in terms of helping Alfred developing new relationships with either artists or collectors.
On the other hand, being a professional photographer was also a strongly driving force behind the successful achievements achieves by Alfred working as an art dealer. This could be explained from two different perspectives. Firstly, Alfred tended to have considerable chances to interact with artists and cooperate with relevant art institutions as well. By building relationships with those artists, Alfred was able to learn the lastest trend of the art field and supply the public with their newest artworks as well. Likewise, Alfred’s career also provided him with more convenience and chances to develop relationships with related institutions, like auction houses and museums. The establishment of such relationships enabled Alfred to operate the artworks trading business with more choices and freedom.
Evaluation of Alfred’s marketing achievements
Compared with other famous art dealers in the modern art history, it seemed that there were both strong benefits and adverse outcomes accompanying Alfred’s marketing strategies. On the one hand, there was no doubt that a huge number of artists benefited from Alfred’s shows and exhibitions, in which they were able to enhance the popularity of their works. There was plenty of convincing evidence supporting this point. Take the Picasso as a typical example. Although Picasso had attaint a great level of artistic achievements in the Spanish ah that time, he was still faced with the frustrating fact that his works lacked influence in the American society (Barr, 1946). That was Alfred, who was the first art dealer to introduce Picasso’s drawings to the American public. That means that, Alfred made a significant achievement in helping Picasso open the American market. The similar situation also happened to other modern painters, such as Mary Cassatt, William Glackens, Robert Henri and James McNeill Whistler (Cohen, 2017). Hence, one of most evident advantages of Alfred’s achievement in the art dealer career was improving numerous artists’ fames and widened the market opportunities of their artworks as well.
On the other hand, it still need to be recognized that Alfred almost did not make any profit from selling artworks. For professional art dealers, in general, they usually could generate a certain amount of profits. At least, they were less likely to be confronted with the financial problems. However, Alfred could be viewed as an exceptional are dealer, who had experienced severely financial difficulties for several times. The underlying factors leading to such result could be his aims for working as an art dealer. As mentioned before, Alfred focused mainly on building the dialogue channels for artists with diversified backgrounds instead of making money from selling their works. Such feature obviously differentiated Alfred from most of other art dealers, whose primary purposes tended to maximize their profits. Therefore, Alfred‘s fundamental purpose of his marketing strategies restricted his profitable performance in the art dealer industry. Another contributing element for Alfred’s financial failure as an art dealer could be his obstinacy during the period of implementing his marketing strategies. Typically, art dealers should to adjust their promoting artworks flexibly so that they can better meet the demand of markets. Nevertheless, Alfred always choose to insist his own appreciation and private choice rather than taking customers’ needs and views into consideration. For instance, he invested tremendous investments in advertising O'Keeffe’s drawings, which put him at the center of being criticized and censured（Rich, 2016）. In spite of this, Alfred still persisted in exhibiting O'Keeffe’s shows and selling her paintings as well. Such stubbornness in his marketing promotion adversely prevented him from generating considerable profits from selling artworks operations. As a result, Alfred failed to gain his personal wealthy for being an art dealer, which could be a frustrating result of his marketing strategies.
Conclusion
In conclusion, it is a plain fact that Alfred is one of the most outstanding art dealers in the art history. There could be both the valued and valuable experience from analyzing his marketing strategies. For instance, Alfred boosted the efficiency and validness of his marketing approaches through building art galleries, which also exerted important impacts on increasing many artists’ marketing influence. Meanwhile, his career of being an influential photogragher also help him create more chances to build and maintain relationships with artists and museums. On the other hand, it should be realized that there was lack of flexibility in the Alfred’s marketing strategies, which resulted in his financial difficulties because of his ignorance of customers’ demands.
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