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  • In the 1830s, Japanese artist Katsushika Hokusai made dozens of prints showing different views

    19世紀30年代,日本藝術家葛飾北齋製作了幾十幅版畫,展示了不同的景色。

  • of Mt. Fuji. This one, the Great Wave off Kanagawa, shows

    的富士山。這張是神奈川外海的大浪,顯示出

  • the sea whipped up by a storm, three boats, and the mountain in the background

    風起雲湧

  • It's one of the most recognizable examples of Ukiyo-e — traditional Japanese woodblock prints

    這是日本傳統木版畫中最知名的浮世繪例子之一。

  • And it's one of the most reproduced artworks in the world.

    而且它是世界上被複制最多的藝術品之一。

  • Since the early 1900s, this printand

    自20世紀初以來,這種印刷品--和。

  • others by Hokusaihave lived at the Metropolitan Museum of Art in New York City.

    北齋的其他作品--都住在紐約大都會博物館。

  • And if you end up at the MET art store, there are dozens of ways for you to take it home

    如果你在MET藝術商店結束,有幾十種方法可以讓你把它帶回家。

  • From a scarf...… to a walletsockscuff links… a watchjournalbelt

    從一條圍巾......,到錢包......襪子......袖釦......手錶......日記本......皮帶......。

  • onesiedog collardog leash.. a USB charger...and, of course, a tote bag.

    連體衣... 狗項圈... 狗繩... USB充電器... 當然,還有一個手提袋。

  • At a certain point, seeing this classic piece of art on so many random things starts to

    到了一定的時候,看到這幅經典的藝術作品在很多隨機的東西上開始

  • feel absurd. But all this merch is meticulously planned out.

    覺得很荒唐。但這些商品都是經過精心策劃的。

  • So that what you see in the gift shop,

    所以,你在禮品店看到的。

  • might change the way you think about art.

    可能會改變你對藝術的思考方式。

  • If you've been to an art museum, you've

    如果你去過藝術博物館,你就會發現。

  • probably been to an art museum gift shop. They're usually the last stop on any tour

    可能去過藝術博物館的禮品店。他們通常是任何旅遊的最後一站。

  • the final exhibit before you head home. We are here to support the museum financially

    - 在您回家之前的最後一個展覽。我們在這裡是為了支持博物館的經濟發展。

  • and to support the mission of the museum in terms of education.

    並支持博物館在教育方面的使命。

  • Leanne Graeff is the head of design and product development for the MET store.

    Leanne Graeff是MET商店的設計和產品開發主管。

  • What we really try to do is to create a varied assortment based on, of course, recognizable artworks.

    我們真正想做的是在可識別的藝術作品基礎上,創造出各種不同的品種。

  • The decisions curators like Leanne make can

    像Leanne這樣的策展人所做的決定可以

  • be powerfulthanks to something called the mere-exposure effect.

    是強大的--這要歸功於一種叫做美感曝光效應的東西。

  • A psychological phenomenon where repeated exposure to something makes you like it more.

    一種心理現象,反覆接觸某種事物會讓你更喜歡它。

  • It's also called thefamiliarity principle.” The classic example is: when you hear a song

    這也叫 "熟悉原則"。經典的例子是:當你聽到一首歌的時候

  • on the radio for the first time –– and hate it, but after a couple more listens,

    第一次聽廣播 -- 討厭它,但多聽了幾遍之後,

  • start to like it.

    開始喜歡上它。

  • In a museum gift shop, seeing the same piece of art on a scarf, or a postcard, or a watch, reinforces the idea that that particular piece

    在博物館的禮品店裡,如果在圍巾、明信片或手錶上看到同一件藝術品,就會讓人覺得那件特定的作品

  • of art is important. So you can kind of extend your education about

    藝術的重要性。是以,你可以種擴展你的教育關於

  • art in the gift shop. It's just an opportunity to expand on people's knowledge base for art.

    禮品店裡的藝術品。這只是一個擴大人們對藝術知識庫的機會。

  • And when you buy that piece of art and take it home with you, the mere-exposure effect

    當你買下那件藝術品帶回家的時候,美感曝光效應... ...

  • becomes even greater. People appreciate art, and they like to be

    變得更加偉大。人們欣賞藝術,喜歡被

  • able to buy things that have art on it. At its core, a museum gift shop is still a

    能夠買到有藝術品的東西。博物館禮品店的核心,還是一個。

  • store. Which means some decisions revolve around money.

    店。這意味著有些決定是圍繞著錢來做的。

  • According to the Museum Store Association, museums collect 5 to 25% of their annual revenue

    根據博物館商店協會的數據,博物館每年的收入佔到5-25%。

  • from their stores. The San Francisco Museum of Modern Art netted

    從他們的商店。舊金山現代藝術博物館淨賺

  • $6.1 million in store sales for the 2018 fiscal year. Roughly 7% of its total revenue.

    2018財年門店銷售額610萬美元。約佔其總收入的7%。

  • When figuring out what will sell, artwork that's already popular helps.

    當弄清楚什麼東西能賣出去的時候,已經受歡迎的藝術品會有幫助。

  • The wallet, the tech accessories, patch, socks - these are all new product types that we

    錢包、科技配件、貼片、襪子,這些都是我們的新產品類型。

  • hadn't tried before. We wanted to try an artwork that we knew is

    以前沒有嘗試過。我們想嘗試一個我們知道的藝術作品。

  • very recognizable by the customer to see if the actual product itself would be interesting.

    非常容易被客戶識別,看實際產品本身是否會有興趣。

  • Traditionally, museums also make a lot of money by selling merch related to big exhibitions.

    傳統上,博物館也會通過出售與大型展覽相關的商品來賺取大量資金。

  • Like, if a museum had a temporary installation of Van Gogh paintings, you'd usually see the

    就像,如果一個博物館有一個梵高畫作的臨時裝置,你通常會看到的是

  • gift shop flooded with Van Gogh art in many shapes and forms.

    禮品店裡充斥著形形色色的梵高藝術品。

  • But that model is changing. We really don't want to be dependent on those

    但這種模式正在改變。我們真的不想再依賴那些... ...

  • big blockbuster shows. It puts us in a very challenging position of being reliant on whether

    大片演出。這讓我們處於一個非常具有挑戰性的位置,要依賴是否有

  • people come to see it or want to see it. Or whether or not there's product that is appropriate

    人們是來看還是想看。或者說是否有適合的產品?

  • to develop for that particular show. Christine Doobinin is the director of retail

    來開發該特定展會。Christine Doobinin是零售部的總監,他的工作是為這個節目開發。

  • at the Philadelphia Museum of Art. She says that a better tactic might be relying

    在費城藝術博物館。她說,一個更好的策略可能是依靠。

  • on museum-goers themselves to drive stocking decisions.

    由博物館觀眾自己來推動進貨決策。

  • Getting out in the museum while people are walking around, really trying to understand

    當人們在博物館裡走來走去的時候,真正想了解的是

  • what they're thinking about when they finally do make it into the store is something that

    當他們最終進入商店的時候,他們在想什麼呢?

  • we always try to keep top of mind. And because of the mere-exposure effect, seeing

    我們總是儘量保持在最重要的位置。而因為美顏效應,看到的是

  • a piece of art again before you leave the museum can make you feel more connected to

    在你離開博物館之前,再看一次藝術作品,可以讓你覺得自己與藝術更有聯繫。

  • it. You know you're walking around and then suddenly

    它。你知道你走來走去,然後突然之間

  • you connect with a painting for whatever reason. Either the color draws you in or you know

    不管是出於什麼原因,你都會和一幅畫聯繫在一起。要麼是色彩吸引了你,要麼是你知道

  • the artist or to see this work of art, and suddenly here it is. It's like a celebrity

    的藝術家或看到這件藝術品, 突然在這裡。這就像一個名人

  • sighting to kind of see that. And you want to kind of take a piece of that home with you.

    目擊到那種看到的。你想帶一塊回家。

  • Ultimately, that's one of the main goals

    歸根結底,這也是主要目標之一。

  • of a museum gift shop. Bridging the gap between the art world and casual visitorsand

    的博物館禮品店。在藝術界和普通觀眾之間架起一座橋樑-----------------------------。

  • letting them take a piece of that world home.

    讓他們把這個世界的一部分帶回家。

  • Of course...not everything in an art museum is specifically designed to reinforce a particular exhibit or change the way we think about art.

    當然......藝術博物館裡的所有東西並不是都是專門為了加強某個展覽或改變我們對藝術的思考方式。

  • You'll also see some...weird stuff in there. Like these miniature chairs at the Virginia

    你還會在裡面看到一些......奇怪的東西。像這些微型椅子在弗吉尼亞州

  • Museum of Fine Arts that go for more than $300 each

    美術館,每件售價超過300美元

In the 1830s, Japanese artist Katsushika Hokusai made dozens of prints showing different views

19世紀30年代,日本藝術家葛飾北齋製作了幾十幅版畫,展示了不同的景色。

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博物館禮品店如何決定賣什麼 (How museum gift shops decide what to sell)

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    林宜悉 發佈於 2021 年 03 月 03 日
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