Pub Date : 2019-05-07DOI: 10.1108/AAM-01-2019-0002
D. Stevenson
Purpose The 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. Design/methodology/approach Drawing 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. Findings Beginning 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. Research limitations/implications Because 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. Practical implications This 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. Originality/value This paper challenges a taken for granted assumption that cultural non-participants exist “in the real”.
{"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}
Pub Date : 2019-05-07DOI: 10.1108/AAM-10-2018-0013
B. Walmsley
Purpose The 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. Design/methodology/approach The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing. Findings The 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. Research limitations/implications The 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. Practical implications In 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. Originality/value The 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.
{"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}
Pub Date : 2019-01-07DOI: 10.1108/AAM-11-2018-0015
Annamma Joy, R. Belk
Purpose The 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. Design/methodology/approach This 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. Findings The 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. Originality/value Extant 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.
{"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}
Purpose The 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. Design/methodology/approach The 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. Findings Findings 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. Research limitations/implications The 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. Originality/value As 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”.
{"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}
Purpose The purpose of this paper is to assess the recent emergence of contemporary art in Asia from a macro, sociocultural perspective. Design/methodology/approach This commentary is based on secondary research and recent visits to contemporary art centres in major cities across Asia. Findings The 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. Originality/value This 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.
{"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}
Pub Date : 2018-07-26DOI: 10.1108/AAM-12-2017-0030
Michelle C. Wang, James Quo-Ping Lin
Purpose The 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. Design/methodology/approach A 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. Findings Democratic 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. Originality/value Specialized 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.
{"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}
Pub Date : 2018-07-05DOI: 10.1108/AAM-04-2017-0006
Hyowon Hyun, Jungkun Park, TianBao Ren, Hyun-jin Kim
Purpose The 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. Design/methodology/approach The 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. Findings Korean 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. Practical implications Ambiance 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. Originality/value This 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.
目的建立千禧一代博物馆参观行为的框架，探讨美学和氛围对艺术博物馆参观的调节作用。本研究采用刺激-有机体-反应(S-O-R)模型(Mehrabian and Russell, 1974)来确认变量之间的关系。设计/方法/方法数据是通过在线调查收集的，调查对象是在三个月内参观过博物馆的千禧一代。总共收集了287份回复。采用结构方程模型对模型进行分析。调查结果:韩国千禧一代游客在参观美术馆时追求的是享乐价值，而不是功利价值。结果表明，在美术馆环境中，享乐价值比功利价值更能促进参观者满意度和忠诚度。在艺术博物馆的语境中，氛围和美学都发挥着刺激作用，并调节着游客感知价值、满意度和忠诚度之间的关系。对于韩国年轻的博物馆游客来说，功利主义价值被认为是不重要的因素。现实意义文化和审美因素在促进艺术博物馆参观中起着重要作用。艺术博物馆可以通过强调千禧一代参观的乐趣价值(即享乐价值)来提升其氛围因素。原创性/价值本研究扩展了先前关于千禧一代在美学和氛围方面对艺术博物馆体验价值的多维结构概念化的研究。研究结果也证实了S-O-R框架在艺术博物馆环境中的价值。
{"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}
Pub Date : 2018-06-22DOI: 10.1108/AAM-04-2017-0008
Eimi Tagore-Erwin
Purpose The 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. Design/methodology/approach Guided 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. Findings The 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. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This 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.
{"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}
Pub Date : 2018-06-11DOI: 10.1108/AAM-05-2017-0009
Iain Robertson
Purpose The 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. Design/methodology/approach This 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. Findings It 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. Research limitations/implications The 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. Practical implications The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair. Social implications This 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. Originality/value The 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.
{"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}
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