Target Artist Categorization and Needs

As we look at the target artists to participate in the SLOCA, at least one segmentation approach seem to fall out – artist who generally create independently and those who create in a group.  Certainly, an artist who paints oils on canvas tends to fall into the first group while a musician who is part of a symphony is in the later segment.

Since group artists need to rehearse with their fellow artists, space for rehearsal is a critical factor.  It might be simple to categorize group artists as primarily performing artists.  However, not all performing artist are group artists.  But staying with the performing group artists category, their needs tend to be rehearsal space, often performance equipment, performance management facilities and the actual performance space.  So by recognizing classes of artists by acknowledging their behavior as group based or individual based may help us define artist needs.

We must acknowledge that an individual artist who paints oil on canvas may have different needs.  For example, he or she may not need large space for rehearsal, may not need to create/organize their own performances (shows) but may see having shows available as a critical need.

Another segmentation approach is by classifying artists by experience level.  We probably have for each type of artist 1) a novice level, 2) a casual level, 3) a serious amateur level and 4) a professional level.  The needs of each are probably different while some needs are consistent for all.  For example, a beginning painter would need instruction, education, tools and materials and a location in which to paint / create on an as need basis.  Whereas a professional painter might be more interested in a studio to work in isolation, access to props and subject material and access to retail.

A third categorization scheme may be by age or generation.  Professional demographic experts have told us that different generations have different sets of priorities.  We can assume that the same holds true of artists.  It is, therefore, important that we understand the needs of young artists as they will be the future of the Center.  A organization that only provides for the needs of the oldest generation will either need to reinvent itself or die as the older generation dies out.

We need to think this through some more.