The Art of Promotion in the Age of Social Media: A Study of Online Marketing by Daniel Asham

Tszyan Chzhoin Postgraduate student, Institute of History, St. Petersburg State University 199225, Russia, Leningrad region, Saint Petersburg, Alexander Green street, Alexander Green jiangzhuoooying@163.com

"Nowadays there are about two types of artists: some are satisfied with their work when it is finished, and the latter need to complete the integrity of their work through the audience, and I belong to the latter. I want people to be able to relate to my work, not just one type of person, but also people from different countries, races, and backgrounds. And you don't have to go to a museum or gallery to see it, you can see it through social media, etc......"

- Daniel Arsham

Introduction

In the conditions of the modern art market, characterized by rapid growth, the success of an artist depends not only on the artistic value of his works, but also on the effectiveness of his marketing strategies. Daniel Arsham, a recognized master of contemporary art, has achieved wide fame thanks to his unique author's style, as well as through the skillful use of innovative marketing tools such as combined online and offline exhibitions, interaction with social networks and related promotions with business media. The purpose of this study is to study in depth the totality of Daniel Arsham's marketing strategies in the field of art.

Research methods

The method of studying literature: the paper provides an analytical review of the relevant literature on the influence of social networks on the promotion of art. This review allowed us to determine the context of the industry, the theoretical framework and the key results of previous studies, providing a theoretical basis for conducting this study.

Description method: Daniel Arsham's exhibition events are described, the format, subject matter, technologies used, venue, and audience are discussed in detail.The complex of marketing strategies of the artist is also described. This method allows us to present a complete picture of the use of social networks in the promotion of art by Daniel Arsham, highlighting the key elements and their relationship.

Case study method: The research uses the case study method based on an in-depth analysis of specific exhibition events by Daniel Arsham, advertising campaigns in business media and other cases. This method allows us to study the effectiveness and innovativeness of an artist's marketing strategies in the field of art, providing a specific and in-depth understanding of the object of research.

Observation method: Primary data is collected by observing Daniel Arsham's exhibition venues, interacting with the audience and analyzing feedback on social networks. This allows you to evaluate the perception of works of art by the audience.

Interdisciplinary approach: when studying the totality of Daniel Arsham's art marketing strategies, theories and methods from a number of disciplines such as art criticism, marketing, media communications, sociology are used for a comprehensive and in-depth analysis of the object of research.

The boundaries of the study

The subject of the study is a set of strategies for online art marketing by Daniel Arsham.

The object of the research is the promotion of art in the era of social media.

The study covers the following aspects:

1. China.

Within the Chinese context, the study focuses on the following aspects:

A platform for online exhibitions and art sales: DEWU APP. An analysis of her role in promoting Arsham's work, as well as her influence on the accessibility and perception of art in China.

Analysis of social media platforms: XIAOHONGSHU APP. The study of the features of using the platform to promote art, including content strategies, interaction with the audience and the formation of an online community.

Communication of online and offline activities: QQJOY2021. Analysis of the impact of online promotion on the success of offline events such as exhibitions and performances.

Commercial cooperation and co-branding: Xiaomi 12T Pro, the national treasure of China is the lantern of Changxing Palace. A study of the impact of such collaborations on the brand awareness of Arsham and his art in China.

2. Europe and the USA:

Within the Western context, the research focuses on the following aspects:

Art exhibition and curation: Galerie Perrotin - «Time Dilation». Special attention is paid to the role of curation in shaping the concept of the exhibition and its promotion, as well as the influence of social networks on the perception of the artist's work and his branding.

Commercial cooperation and co-branding: Porsche, Tiffany, Louis Vuitton, Dior. A study of Arsham's co-branding strategy and commercial cooperation within the media space.

Social media are virtual communities and online platforms that people use to create, distribute and share opinions, ideas and experiences ^[21]. The use of social media in the field of art opens up new opportunities for marketing strategies, accelerating the distribution of works of art and increasing the level of audience engagement. ^[28]. This article analyzes the promotion of art in the era of social media using the example of the online marketing strategies of the artist Daniel Arsham.

Literary review

In the era of social media, the promotion of art has become one of the key topics of scientific discourse. The researchers note that modern platforms have radically changed the art landscape, providing artists and viewers with unprecedented opportunities for interaction and exchange. Many modern works study the influence of social media on the promotion of art ^{[2, 24, 1]}.

In the book "Branding the Teleself: Media Effects Discourse and the Changing Self" scientist E. A. Hakanen examines the theory of media ecology in detail, arguing that communication technologies are an extension of human feelings and a key factor in social change ^[24]. Following Hakanen, B. Walsmley notes that this leads to the fact that social media, as a digital extension, deepen and democratize artistic exchange, blurring the boundaries between "professional" and "public".

This trend in art is confirmed by researcher Hans Abbingh, in his book "The economies of serious and popular art: How they diverged and reunited" he says that modern social networks have become an undeniable tool for artists of all genres, giving them the opportunity to showcase their work to a wide audience around the world. This, in his opinion, is especially important for aspiring creators who can now promote their art in previously inaccessible markets, including international ones ^[1]. Abbing also pays special attention to the phenomenon of hybridization in art, which has become characteristic of modern artistic practice thanks to social media. The fusion of various artistic elements and disciplines generates new forms, blurring the boundaries between traditional genres and disciplines. The author notes that in the era of social media, new forms of art are actively developing, such as video essays on YouTube, which are widely recognized by a new audience. The emergence of phenomena within social networks such as like/follower statistics has changed the way art is created, consumed, and criticized, highlighting interactivity and audience engagement.

Russian researcher E. A. Kartseva emphasizes that in modern society there has been a significant shift in the cultural and aesthetic perception of art. Virtual space has become an integral part of life, and the public is used to getting acquainted with works of art from a distance, in a digital format. However, this does not mean that people have stopped visiting museums and exhibitions. On the contrary, interest in art is growing in the real world, but it is now based on the abundance of accessible and diverse information about it provided by the digital environment ^[10].

This idea is also reflected in the work of Yuqi Yang, who argues that modern social networks have a significant impact on the dynamics of the art market, redistributing the roles of participants and contributing to the commercialization of works of art. Among the examples of this phenomenon, she highlights: social platforms are shifting the focus from traditional intermediaries, such as galleries, to direct interaction between artists and their audience ^[29]. This allows artists to independently shape and manage their image, establish dialogue with fans and build closer relationships with them; social networks provide artists with the opportunity to sell their work directly, bypassing traditional channels. This approach becomes a key step in the professional career of an artist.

As G. Frank notes, attention is a valuable resource that can be considered as "capital". On social networks, the publication of works allows artists to accumulate this capital, gaining recognition and popularity ^[23]. In addition to attention, the authors of works of art can develop their "communication capital" - Strengthen ties with the community by interacting with other artists, experts and fans.

D. D. Makhmutova and D. I. Gerasimova, analyzing the promotion of art through social networks from the point of view of digital illustrators, note that social networks provide artists with a platform to create their own blogs where they can share their creative process, personal stories, values and ideas ^[15]. This approach not only contributes to the formation of the author's identity, but also allows you to deepen the connection with the audience, creating a sense of intimacy and trust. Moreover, an important factor attracting artists to digital illustration is the ability to monetize their work. Social networks are opening up new channels for selling digital works, collaborations with brands, as well as for generating additional income through affiliate programs.

Researchers also note the emergence of such a phenomenon as "Instagrammism", which represents the aesthetics of new global digital youth classes, demonstrating the influence of social media on the formation of artistic tastes ^[14]. Also, the results of many studies confirm that online platforms allow you to adjust works of art in an interactive process. Museums use "citizen curators" and "user-generated content" to plan exhibitions, highlighting the growing influence of the audience ^[18].

The research of Chinese scientists focuses on the role of "opinion leaders" (KOL) in promoting works of art on social networks. The KOL marketing model, based on the influence of reputable users, is actively used to stimulate activity in online communities ^[8]. A key element of this model is the use of an information exchange mechanism in online communities. Opinion leaders, having a high level of trust and authority, contribute to the dissemination and promotion of marketing information related to works of art, stimulating its viral distribution among users. The study of marketing strategies in social networks has also been reflected in the works of Russian scientists, including P. O. Kokin, V. E. Tronin and others ^{[11, 20]}.

Despite the growing influence of social media on the field of art, research on the relationship between works of art and interaction on social networks is at an early stage of development. Previous research has mainly focused on the impact of Western platforms such as Instagram and Twitter on the promotion of art. In this study, it is proposed to expand the analysis by studying the influence of Chinese social networks such as XIAOHONGSHU APP, DEWU APP, etc. Next, a more in-depth analysis of the strategies for promoting the work of the artist Daniel will be carried outArshama on the specified platforms.

Daniel Arsham's use of art history, technology, and nostalgia for consumer culture as an "advertising lure" made him a favorite of the art market ^[3].

Daniel Arsham is widely known for his unique approach to working with various media, in-depth research of time and matter, as well as skillful fusion with pop culture. As a visual artist, he is engaged in sculpture, painting, architecture, performance and installation. His works often present a futuristic archaeological perspective, creating a surreal sense of relics from the future through the erosion and crystallization of everyday objects and architectural elements ^[27]. The overall effect is a clever mix of nostalgic modification, driven by a future perspective, which pushes the art market into close connection with our time, demonstrating a unique charm that transcends time and space, thereby further activating and enriching the multifaceted appearance of the contemporary art market ^[27].

Before we talk about how Daniel Arsham uses network marketing to promote art, we will look at the definition of "artistic network marketing". As an innovative marketing method, art network marketing is a way of advertising, promoting, selling and servicing works of art using Internet technologies and network platforms ^[26]. It combines the characteristics of traditional art transactions with the benefits of network marketing, using online storefronts, online transactions, social media interaction, online advertising and other ways to promote art to a wide audience in order to achieve rapid distribution of art and effective transactions ^[13]. Network marketing of art is not limited only to the sale of works of art, but also includes the formation of an artist's brand, advertising and promotion of works of art, as well as the dissemination of information about art ^[9]. Network marketing provides artists with a unique opportunity to overcome geographical barriers, expanding access to the global market. This allows them to interact directly with art connoisseurs and collectors around the world, forming new channels of communication and promoting mutually beneficial cooperation.

At the macro level, artists can analyze the collected information to determine methods and strategies for online promotion, such as news promotion, search engine promotion, social media promotion, and so on. These strategies can be selected and combined depending on the specific situation in order to improve the effect of online marketing in the art field. In this article, we will analyze how Daniel Arsham uses social media to promote works of art in China using the following five ways and means:

1. Online platform for art exhibitions and sales

Internet marketing in the field of art involves bringing works of art to the market and attracting a target audience through various marketing strategies ^[25]. The DEWU APP's work strategy in the art segment fully embodies several key aspects of art marketing.

In terms of market segmentation and target market selection, APP DEWU covers areas such as shopping, professional assessment and fashion sharing. It entered the art segment in 2021. DEWU APP has a clear positioning in the field of e-commerce art, which focuses on providing fashionable, stylish and unique works of art for young consumers. The DEWU APP has successfully attracted a large number of users who are focused on personalization and uniqueness and are willing to pay for works of art with a sense of design and creativity ^[17].

The DEWU APP is an art selling platform that also forms an online community around art, providing an opportunity to keep track of trendy art exhibitions and share opinions about painting. Such a community marketing strategy enhances the sense of belonging and participation of users, which increases their interest in works of art and stimulates purchases. This platform has enabled more than 600 artists to release their work, and has also led to the creation of more than 500,000 pieces of collaborative and creative art content. Every week, more than 200 million people show interest in art-related topics ^[17].

As for co-marketing, the DEWU APP enhances the value and attractiveness of their work by collaborating with well-known artists. In 2022, Daniel Arsham himself officially joined the DEWU APP community, and on August 24, Daniel Arsham's Chinese art platform, Archive Editions, put up a limited number of sculptures for sale on the DEWU APP online^[7]. Such cooperation has made it possible to increase the variety and quality of the works of art offered, as well as to attract the attention of buyers to goods of artistic value.

2. Social Media Marketing

Thanks to the unique ecology of the community of interest, the XIAOHONGSHU APP successfully gathers high-quality users with a higher general awareness of fashionable content. This target audience is characterized by a high propensity for information exchange, good purchasing power and a need for new content, which makes it an ideal market segment for art marketing.

The XIAOHONGSHU APP conducts an in-depth analysis of the characteristics and needs of the target audience, which allows for accurate market segmentation and effective strategies for selecting the target market for art marketing ^[5].

More than 46,000 people participated in the XIAOHONGSHU APP Trend Invasion project. Interaction and exchange of opinions between users in the community increased the sense of belonging to the event, which led to an increase in the interest of netizens in buying works of art. This approach to community promotion successfully integrates with art marketing, contributing to increased awareness and stimulating the purchase of works of art through user-generated content (UGC) and social exchange. ^[22]. Daniel Arsham released works of art from his co-branded collection with Pokémon through a personal account in the XIAOHONGSHU APP. The works were sold in the official online application of Daniel Arsham, Archive Editions, and a limited edition of 500 copies of "Eroded Pikachu" was sold out immediately after appearing on store shelves, and in the secondary market its price reached 30,000 yuan ^[19]. The company also collaborated with KOC and KOLs on the XIAOHONGSHU APP platform. Their influence and experience helped to increase the recognition and importance of Daniel Arsham's work, as well as stimulate sales.

The XIAOHONGSHU APP acts as a platform to enhance the interaction between artists and their audience. Daniel Arsham, as an example, uses the app to interact directly with his fans, demonstrating the process of creating his works. This approach helps to strengthen the emotional connection between users and the artist, increasing their interest in creativity and increasing their willingness to buy works of art. This strategy of interaction and consumer participation is an effective tool for raising awareness of creativity and stimulating sales in the field of art.

3. Cross-border cooperation between works of art and brands

Cross-border collaboration between works of art and brands has become a unique marketing strategy in today's market, combining artistic innovation and commercial value. Daniel Arsham's work is a prime example of this strategy, as his work goes beyond traditional sculpture and extends to architecture, fashion, cinema, etc. The variety of his works creates a unique artistic influence and opens up new opportunities for the market.

In 2019 year Daniel Arsham has created a collection of DIOR men's clothing for the spring-summer 2020 season. In addition, the broken letters "DIOR", created by Arsham. He also designed watches, hand-operated phones and other installations for DIOR that added brightness to the display. This pink desert has become one of the most famous creations Daniel's Arshama. The exhibition sparked lively discussions among art and fashion connoisseurs on Chinese social networks ^[12].

The collaboration between 12T Pro, Xiaomi's international mobile phone model, and Daniel Arsham is a unique example of the synthesis of art and technology. Thanks to the artist's creativity, the phone turns into a modern work of art. A design based on the aesthetics of the "archaeological future"Arshama is the first attempt to embody the ideas of obsolescence and natural erosion in the texture of a smartphone. This collaboration represents an innovative design solution that promotes the integration of art and technology and gives Xiaomi mobile phones a unique artistic value ^[33]. This collaboration also demonstrates the fusion of European and American culture integrated by Chinese companies entering Western markets. This connection between works of art and electronic brands attracts public attention.

In 2018, the National Treasure program, aimed at popularizing China's cultural heritage, implemented a co-branding collaboration with artist Daniel Arsham. As part of this project, implemented on the basis of a license agreement for the use of intellectual property, Arsham created the artwork for the "First Lamp of China" – a gilded bronze lamp of the Han Dynasty, known as the Changxin Palace lantern ^[16]. This work not only demonstrates deep respect for Chinese culture and history, but also helps to attract the attention of the world community to the value of historical relics, stimulating their careful storage and study. In addition, the project made it possible to integrate elements of Chinese culture and creativity into the field of fashion, while enriching the cultural context of Daniel Arsham's works.

Daniel Arsham, known for his unique artistic style and ability to work with different cultures, has also achieved success in the fashion world. Collaboration with brands such as Porsche, Tiffany, Louis Vuitton, Dior, allowed him to embody his aesthetics in various fashion products, including sneakers, sunglasses and suitcases.

Vogue 101 quartz erosion magazine, created by Arsham, which was sold at auction for HK$ 2 million, significantly exceeding the preliminary estimate of HK$ 150-250 thousand ^[12]. This fact once again confirms the collectible value and commercial potential of the artist's works.

4. The activities of the art exhibition

In 2021, Daniel Arsham's solo exhibition "Time Dilation" ended at Galerie Perrotin in New York, which became a successful marketing campaign in the field of art ^[30].

Daniel Arsham made full use of a combination of online and offline marketing tools: the day before the end of the exhibition, Chinese fans and art lovers were able to conduct a personal live tour of the exhibition through the official online Archive Editions application, thanks to which the art event reached a wider audience.

After the end of the exhibition, fans posted content related to this event on social networks. This phenomenon demonstrates the enhancement of the interactive experience of viewers with art and expands the exhibition's exposure in a digital environment, creating an online platform for information exchange and interaction on social networks.

5. Promoting links between art and business media

In 2021 year in The main site of QQJOY2021 has opened in China, the annual theme of which was "The future begins here". The exhibition was dedicated to the aerospace industry China. As part of the project, the creative director was invited Daniel Arsham. The launch of the digital interactive exhibition and the main exhibitions of art trends at the exhibition demonstrated a variety of strategies in the field of art marketing aimed at meeting the artistic needs of different audiences, increasing interactivity and engagement of visitors, as well as improving the impressions of viewers. Daniel Arsham was inspired by QQJOY's theme "The Future Begins Here" and created the world's largest penguin art installation. At the same time, through his own art platform, Archive Editions, he collaborated with the QQ APP to jointly develop the co-branded artwork HOLLOW QQ. The back of the HOLLOW QQ is uniquely decorated with Daniel Arsham's signature hollow design, has a streamlined look and primitive colors of the material, demonstrating a simple but strong artistic contagion that accurately reflects the concept of art marketing "the future begins here" ^[4].

In addition to the penguin from the HELLOW QQ art installation, Daniel Arsham also joined forces with QQ and Honor of Kings to launch peripheral Go art. This greatly contributed to the popularization and dissemination of Go culture and became a profound embodiment of the brand's collaboration strategy in art marketing. Such cross-border cooperation enriches the diversity and presentation of works of art, as well as expands their influence through joint promotion, realizing an ideal fusion of art and business ^[32].

The above five aspects of Daniel Arsham's use of social media to promote his art clearly demonstrate his deep understanding and innovative approach to art marketing and brand building in the digital age. These marketing strategies successfully contribute to the growth of popularity and commercial value of Daniel Arsham's works, as well as serve as a source of inspiration and guidance for the art market in China and around the world.

1. Daniel Arsham, a successful contemporary artist, demonstrates an innovative approach to promoting his work based on the synthesis of online and offline activity. He has successfully attracted the attention and recognition of a wide audience by carefully choosing social media platforms and publishing high-quality content.

2. Arsham is aware of the power of social media and skillfully identifies the interests of his audience, attracting them with various forms of content and establishing a deep emotional connection. He pays special attention to interacting and managing relationships with his fans, keeping in close contact with them, responding to comments and organizing online events. This approach increases the loyalty and engagement of the audience, opens up new business opportunities.

3. Arsham commercializes its work through cross-border cooperation and co-branding. His collaboration with local Chinese brands, cultural organizations or artists expands the sales channels of works of art and increases the recognition and commercial value of both brands.

Thus, Daniel Arsham's use of social media to promote his work fully demonstrates his innovative approach in the field of art promotion and branding. His set of marketing strategies brings new inspiration and guidance to artists, as well as gives new strength and momentum to the art industry.

Conclusion

This study demonstrates the significant effect of Daniel Arsham's marketing strategies in creating a successful brand in the field of art. Arsham has successfully increased the popularity and commercial value of his works of art through diversified strategies including combined online and offline exhibitions, interaction with social networks, and promotion of business media relations.

The result of applying such strategies was a perfect fusion of art and business, which enriched the communication channels of works of art and improved the interactive experience of viewers. In addition, they have expanded the audience of works of art, increasing the recognition and influence of art brands.

This study highlights the importance of actively exploring and applying innovative marketing strategies by artists in addition to their creativity. This makes it possible to promote works more effectively and achieve sustainable development of art brands.