Arts and the Market最新文献

{"title":"The cultural non-participant: critical logics and discursive subject identities","authors":"D. Stevenson","doi":"10.1108/AAM-01-2019-0002","DOIUrl":"https://doi.org/10.1108/AAM-01-2019-0002","url":null,"abstract":"\u0000Purpose\u0000The existence of so-called non-participants is a cultural policy problem in the UK and beyond. Yet, the very notion of a cultural non-participant seems nonsensical against the palpable evidence of lived experience. The purpose of this paper is to understand “who” a cultural non-participant is by first comprehending “what” the cultural non-participant is and why it exists.\u0000\u0000\u0000Design/methodology/approach\u0000Drawing on primary data generated in the form of 40 in-depth qualitative interviews, this paper employs a discursive methodology to explore the critical logics (Howarth, 2010) that underlie the problem representation (Bacchi, 2009) of cultural non-participation and in particular the discursive subject identity of the cultural non-participant.\u0000\u0000\u0000Findings\u0000Beginning with a discussion about how cultural non-participants are represented as socially deprived and hard to reach, the paper moves on to highlight how they are also presumed to lack knowledge and understanding about what they are rejecting. Their supposed flawed subjectivity is then contrasted with the desirable model of agency claimed by the cultural professionals who seek to change the cultural participation patterns of others. The paper concludes with a consideration of how the existence of the cultural non-participant subject identity limits the extent to which those labelled as such can meaningfully contribute to the field of cultural policy and obscures the extent to which such individuals are culturally disenfranchised.\u0000\u0000\u0000Research limitations/implications\u0000Because of the chosen research approach and the geographical limitations to the data generation, the research makes no claim to generalisability. Therefore, researchers are encouraged to test the discursive logics identified at alternative discursive sites.\u0000\u0000\u0000Practical implications\u0000This paper proposes a change in the language used by cultural professionals accompanied by changes in practice that abandoning the identity of the cultural non-participant would demand.\u0000\u0000\u0000Originality/value\u0000This paper challenges a taken for granted assumption that cultural non-participants exist “in the real”.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-01-2019-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44608677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The death of arts marketing: a paradigm shift from consumption to enrichment","authors":"B. Walmsley","doi":"10.1108/AAM-10-2018-0013","DOIUrl":"https://doi.org/10.1108/AAM-10-2018-0013","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement.\u0000\u0000\u0000Design/methodology/approach\u0000The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing.\u0000\u0000\u0000Findings\u0000The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences.\u0000\u0000\u0000Research limitations/implications\u0000The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept.\u0000\u0000\u0000Practical implications\u0000In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion.\u0000\u0000\u0000Originality/value\u0000The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-10-2018-0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47401548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"India’s Kochi Biennale: sponsorship, patronage, and art’s resistance","authors":"Annamma Joy, R. Belk","doi":"10.1108/AAM-11-2018-0015","DOIUrl":"https://doi.org/10.1108/AAM-11-2018-0015","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to examine the meaning, in both local and international context, of the Kochi-Muziris Biennale (KMB), the first international exhibit of contemporary art in India. Kochi Biennale Foundation (KBF), which administers the KMB, identifies art as a means for transforming society, with a mission to bring global contemporary art to India and to present India’s modern art to the world. The authors further investigate the role of government sponsorship and corporate patronage in funding the KMB, and investigate how resistance through art is key to the KMB’s identity.\u0000\u0000\u0000Design/methodology/approach\u0000This study focuses primarily on published materials relating to the KMB. One of the authors attended the 2016 KMB and interviewed fellow attendees. Additionally, the authors reviewed and assessed social media postings regarding the 2016 KMB.\u0000\u0000\u0000Findings\u0000The authors argue that government sponsorship and corporate patronage are never solely about political or financial power. Rather, a generalized reciprocity among the three entities – corporations, the government and the artists – allows the KMB to flourish. For the artists involved, the KMB, co-founded by activist artists, sustains interest in and awareness of resistance.\u0000\u0000\u0000Originality/value\u0000Extant literature on biennales is sparse on ways in which these exhibits extend their impact beyond the art world. The authors examine issues such as India expanding its position on the world stage through art, and the implications of political resistance embraced by Indian artists on future directions for the KMB, that have heretofore been unaddressed.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2019-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-11-2018-0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49387703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Corrigendum","authors":"","doi":"10.1108/aam-10-2018-033","DOIUrl":"https://doi.org/10.1108/aam-10-2018-033","url":null,"abstract":"","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/aam-10-2018-033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49547156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual arts marketing in East Asia","authors":"Yu-Chien Chang, Chloe Preece","doi":"10.1108/AAM-10-2018-031","DOIUrl":"https://doi.org/10.1108/AAM-10-2018-031","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research.\u0000\u0000\u0000Design/methodology/approach\u0000The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing.\u0000\u0000\u0000Findings\u0000Findings and insights relate to topics such as the structure of the visual arts markets of East Asia, political influences on these arts markets, alternative spaces such as art festivals, ambiance and audience experience in museums and new media initiatives.\u0000\u0000\u0000Research limitations/implications\u0000The authors believe that all of the papers have implications for future thinking, research, scholarship and practice in the area of arts marketing, particularly for scholars, cultural institutions and artists working in Asia.\u0000\u0000\u0000Originality/value\u0000As far as the editors are aware, this is the first ever journal special issue on arts marketing in East Asia. In particular, the authors offer some new ideas in thinking about visual arts marketing in Asia as part of this editorial essay, particularly in considering the difficulties for both artists, arts organisations and academics in creating from the “periphery”.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-10-2018-031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46389368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Made in Basel? A commentary on the contemporary art world in Asia","authors":"Matthew J. Waters","doi":"10.1108/AAM-10-2018-032","DOIUrl":"https://doi.org/10.1108/AAM-10-2018-032","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to assess the recent emergence of contemporary art in Asia from a macro, sociocultural perspective.\u0000\u0000\u0000Design/methodology/approach\u0000This commentary is based on secondary research and recent visits to contemporary art centres in major cities across Asia.\u0000\u0000\u0000Findings\u0000The author argues that contemporary art in Asia emerges by extension of the Western contemporary art world and suggests that more must be done if Asia is to create a contemporary art world that is both internationally recognised and distinct from its Western precedent.\u0000\u0000\u0000Originality/value\u0000This commentary debunks the hyperbole surrounding contemporary art in Asia as a regional phenomenon and provides a critical examination of the global (power) dynamics at play.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-10-2018-032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43111875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Future Museum shapes the museum future","authors":"Michelle C. Wang, James Quo-Ping Lin","doi":"10.1108/AAM-12-2017-0030","DOIUrl":"https://doi.org/10.1108/AAM-12-2017-0030","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.\u0000\u0000\u0000Design/methodology/approach\u0000A review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.\u0000\u0000\u0000Findings\u0000Democratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.\u0000\u0000\u0000Originality/value\u0000Specialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-12-2017-0030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43557841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The role of ambiances and aesthetics on millennials’ museum visiting behavior","authors":"Hyowon Hyun, Jungkun Park, TianBao Ren, Hyun-jin Kim","doi":"10.1108/AAM-04-2017-0006","DOIUrl":"https://doi.org/10.1108/AAM-04-2017-0006","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to establish a framework for millennials’ museum visiting behaviour and to explore the moderating effects of aesthetics and ambience for visiting art museums. This study uses the Stimulus–Organism–Response (S–O–R) model (Mehrabian and Russell, 1974) in order to confirm the relationship among variables.\u0000\u0000\u0000Design/methodology/approach\u0000The data were collected using online surveys from millennial art museum visitors who had visited a museum within three months. In all, 287 responses were collected. Structural equation modelling was used to analyse the model.\u0000\u0000\u0000Findings\u0000Korean millennial visitors pursue hedonic value rather than utilitarian value when they visit art museums. It turns out that hedonic value accelerates visitor satisfaction and promotes visitor loyalty more than utilitarian value in the art museum setting. Both ambiance and aesthetics play stimulating roles in the art museum context and moderate the relationships among visitor-perceived value, satisfaction and loyalty. Utilitarian values are identified as unimportant elements for young Korean museumgoers.\u0000\u0000\u0000Practical implications\u0000Ambiance and aesthetic factors play important roles in promoting art museum visits. An art museum may elevate its atmospheric factors by emphasising the visit’s fun value (i.e. hedonic value) for millennials.\u0000\u0000\u0000Originality/value\u0000This study expands on previous studies concerning conceptualization of multidimensional constructs of millennials’ value for experience of arts museums in terms of aesthetics and ambiance. The results also confirm the value of the S–O–R framework in an art museum context.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-04-2017-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46687064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contemporary Japanese art: between globalization and localization","authors":"Eimi Tagore-Erwin","doi":"10.1108/AAM-04-2017-0008","DOIUrl":"https://doi.org/10.1108/AAM-04-2017-0008","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years.\u0000\u0000\u0000Design/methodology/approach\u0000Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016.\u0000\u0000\u0000Findings\u0000The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein.\u0000\u0000\u0000Research limitations/implications\u0000Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics.\u0000\u0000\u0000Practical implications\u0000The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field.\u0000\u0000\u0000Originality/value\u0000This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-04-2017-0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A comparative study of the influence of political systems on the art markets of East Asia and China","authors":"Iain Robertson","doi":"10.1108/AAM-05-2017-0009","DOIUrl":"https://doi.org/10.1108/AAM-05-2017-0009","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.\u0000\u0000\u0000Design/methodology/approach\u0000This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.\u0000\u0000\u0000Findings\u0000It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.\u0000\u0000\u0000Research limitations/implications\u0000The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.\u0000\u0000\u0000Practical implications\u0000The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.\u0000\u0000\u0000Social implications\u0000This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.\u0000\u0000\u0000Originality/value\u0000The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2018-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-05-2017-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48602579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}