Culture Media And Sport (DCMS) Model

According to the UK Department for Culture Media and Sport (DCMS) model, which was created in 1998, creative industries were determined as those industries which have their origin in individual creativity, skill and talent and have potential for wealth and job creation despite the generation and exploitation of intellectual property (DCMS, 2011). In consideration of this definition, DCMS model includes 13 industries without categorizing as core or peripheral unlike the Concentric Circles Model, which is created by Thorsby and widely used for classifying the creative industries in Europe (David Throsby, 2008).
As it was explained in the 2009 UNESCO Framework for Cultural Statistics, cultural industries produce and distribute cultural goods

To overcome this ambiguity Zorlani compiled common points that can be considered as determinants of the sector’s boundaries and with reference to that system of visual art is composed by all the socio-economic agents that involved in various capacities in the cultural and creative sectors (2013). Their main features are;
1. Human factor has the key role in terms of both creativity and intellectual property as a source of the sector (David Throsby, 1994).
2. Visual art sectors produce unique and irreproducible cultural output with a high symbolic content (David Throsby, 2001).
3. They satisfy a need for aesthetic and cultural distinctiveness (Pommerehne & Granica, 1995).
In the light of these points it is explained that system of contemporary art can be defined as a sum of such size and complexity which can be thought as a cluster/group of economic organisations and operators that have different value and importance. These organisations are in appropriate structures like galleries, auction houses, fairs, museums, foundations. They are closely interconnected and they attempt for different purposes with various goals such as commercial or cultural aiming at offering luxury goods with a high symbolic content designed to satisfy an aesthetic and cultural need that the consumer expresses as an alternative use of

Especially differences between tangible cultural heritage (paintings on museums, sculpture on monuments etc.) and visual arts might be seen unclear. Nevertheless, contrary to the visual arts value chain, in tangible cultural heritage focuses are mostly on the activities of preservation, dissemination and exhibition. On the other hand, at the core of the visual arts is creation that is a central part of the value chain.
2.2. Economic Characteristics of the Visual Artworks
In order to understand structure and dynamics of the Visual Arts value chain, it is better to look closely to the characteristics of the visual artworks.
Information Goods
One of the issues that determines the economic features of the artistic goods is that they are information goods. This causes some difficulties in evaluating the quality of object, especially for those who do not have an artistic sensitivity and artistic-knowledge. This leads to asymmetry of information between buyers and sellers (Zorloni, 2013).
Experience Goods
Another feature that is mentioned by Arora and Vermeylen is that artworks are experience goods which have a meaning ascribed by the art lovers and buyers over the reception/consumption (Arora & Vermeylen, 2013).
Credence