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1 Introduction
The majority of the existing arts marketing literature offers a foundation for exercising arts marketing by adopting conventional marketing theories and practices ([1] Byrnes, 2003; [5] Dickman, 1997; [6], [7] Diggle, 1984, 1994; [20] Hill et al. , 2003; [22] Kerrigan et al. , 2004; [33] Nicolaou, 2003; [34] Pue, 2002). The limitations of traditional marketing theories linked to the arts have been recognized almost simultaneously ([4] Colbert et al. , 2000; [3] Colbert, 2002; [2] Chong, 2002; [14] Fillis, 2002; [21] Hirschman, 1983; [23] Kolb, 2002; [31] McCracken, 1990; [36] Rentschler, 1999). Following [45] Venkatesh and Meamber (2006), this paper attempts to engage in a holistic arts marketing approach introducing the visibility/involvement model. The new methodological tool draws on different meaning dimensions in order to evaluate the quality of an art gallery's current marketing strategy and provides explanations as to why certain organizations rely on specific marketing strategies more than on others. The model can be applied by art galleries and other cultural organizations to discern their key audience, and thus, their communicative focus. It is also the foundation of practical recommendations to enhance a gallery's marketing strategy to either deepen or broaden their audience.
The research focuses on publicly accessible promotional material of art galleries due to their role in the communication process between a gallery and its public. The promotional material of selected art galleries was considered according to three different dimensions of meaning: local, visual, and textual. The innovation of the newly developed model lies in the combination of these dimensions coming from the following three theoretical and methodological areas of thought: mediated discourse analysis ([39], [40] Scollon, 1998, 2001), systemic functional analysis ([18] Halliday, 1985), and critical discourse analysis (CDA; [12] Fairclough and Wodak, 1997).
Art galleries are an essential part of a country's culture, and are crucial in creating ideas about the distinction between high and low culture as well as between nature and culture ([37] Rose, 2000). They exist in a changing and increasingly competitive environment which is marked by struggles to communicate the right messages to the right audiences. This paper challenges the view that traditional marketing strategies apply to arts marketing and aims to overcome some of these difficulties by providing an analytical tool...