Until the late 1970s, research on the cultural sector was characterized by a descriptive phase during which researchers were focused on defining cultural organizations and drawing a sociodemographic profile of cultural consumers. It was discovered that cultural consumers could be divided into two main groups: on the one hand, more highly educated consumers interested in arts such as theater, classical music, and museums (highbrow art), and, on the other hand, consumers more interested in popular art forms (lowbrow art). By the end of this decade, a number of pioneers decided that the time had come to move beyond these descriptive efforts in order to address issues related to strategy, consumer behavior, andmarket segmentation (Andreason & Belk, 1980; DiMaggio et al., 1978; Ryan & Weinberg, 1978). The ensuing discussion highlighted the hedonic nature of the cultural product, the fact that it cannot be classified as a utilitarian product and the fact that, when it comes to high art, the marketing approach is more product oriented than market oriented (Hirschman, 1983; Holbrook & Hirschman, 1982). In the early 1990s, as more and more academics became interested in cultural marketing, the notion of highbrow/lowbrow art began to give way to the notion of the omnivore (Peterson, 1992), followed shortly thereafter by a reexamination of the product orientation versus the market orientation (Voss & Voss, 2000). Starting in the 2000s, articles dealing with the behavior of cultural consumers and strategic marketing began to diversify, expanding to cover the whole marketing field. Today, many of the leading journals have published articles on the marketing of culture and the arts.
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