Pub Date : 2019-05-07DOI: 10.1108/AAM-01-2019-0003
B. Tretola, E. Coupey, Laurie A. Meamber
Purpose Middle school participants in the USA attending an on-campus university informal science program indicate an increase in interest toward careers and disciplines in STEM or STEAM (science, technology, engineering and mathematics and the arts). Parents or guardians confirm the change. The paper aims to discuss this issue. Design/methodology/approach Participants attended “inquiry-based” lectures by scientists and “hands-on” activities conducted by volunteers on campus at a public university over four months, four Saturdays. Participants completed surveys before each lecture and guardians completed surveys afterwards. Findings Interest increased significantly according to paired samples t-tests for each STEM discipline for students who reported low interest on the initial pre-lecture survey. There was a significant linear improvement in interests in engineering using a repeated measures general linear model. Guardians or parents reported that they observed a higher interest in STEM disciplines resulting in more technical-related interaction among peers and within the family. Social implications Findings support STEM with arts “out-of-school” programs sponsored by museums, corporations, government, higher education and others. Inclusion of the “hands-on” activities, some with arts content, to the science and technical learning appears to spark enthusiasm. Originality/value The value is multidisciplinary. The theory of reasoned action from social psychology, sociology, along with related research in science education and the arts are synthesized. Informal extracurricular experiences sustained and improved interests in the disciplines and careers on which the formal educational career pipeline can build.
{"title":"Multidisciplinary impact – the arts join informal STEM programs","authors":"B. Tretola, E. Coupey, Laurie A. Meamber","doi":"10.1108/AAM-01-2019-0003","DOIUrl":"https://doi.org/10.1108/AAM-01-2019-0003","url":null,"abstract":"\u0000Purpose\u0000Middle school participants in the USA attending an on-campus university informal science program indicate an increase in interest toward careers and disciplines in STEM or STEAM (science, technology, engineering and mathematics and the arts). Parents or guardians confirm the change. The paper aims to discuss this issue.\u0000\u0000\u0000Design/methodology/approach\u0000Participants attended “inquiry-based” lectures by scientists and “hands-on” activities conducted by volunteers on campus at a public university over four months, four Saturdays. Participants completed surveys before each lecture and guardians completed surveys afterwards.\u0000\u0000\u0000Findings\u0000Interest increased significantly according to paired samples t-tests for each STEM discipline for students who reported low interest on the initial pre-lecture survey. There was a significant linear improvement in interests in engineering using a repeated measures general linear model. Guardians or parents reported that they observed a higher interest in STEM disciplines resulting in more technical-related interaction among peers and within the family.\u0000\u0000\u0000Social implications\u0000Findings support STEM with arts “out-of-school” programs sponsored by museums, corporations, government, higher education and others. Inclusion of the “hands-on” activities, some with arts content, to the science and technical learning appears to spark enthusiasm.\u0000\u0000\u0000Originality/value\u0000The value is multidisciplinary. The theory of reasoned action from social psychology, sociology, along with related research in science education and the arts are synthesized. Informal extracurricular experiences sustained and improved interests in the disciplines and careers on which the formal educational career pipeline can build.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-01-2019-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41546486","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-02-2019-0010
F. Sussan, H. Nakagawa
Purpose Mapping the intrinsic value of the art of architecture and the art of nature within the context of Kakunodate and the preservation of its samurai manors and Sakura heritage trees, this paper proposes that from the perception of tourists, the preservation of both items is important. Extending the psychology of pricing that is subject to consumers’ preference and expectation to the context of valuation of cultural heritage assets, the purpose of this paper is to suggest that including the art of nature and the aesthetic of Sakura to the art of architecture (Samurai manors) will add more value to the cultural heritage of Kakunodate than when only the art of architecture is mentioned. Design/methodology/approach This paper uses Contingency Valuation Method to solicit tourists willingness-to-pay to preserve the architecture and the nature in Kakunodate. The survey uses a double bounded dichotomous choice model to elicit the various levels of tourists preference in various scenarios. Response from more than 1,000 tourists in three scenarios were collected. Through a maximum likelihood method and a subsequent truncated calculation, results are reported. Findings The results support the conceptual argument that the art of nature adds value to the art of architecture only. Tourists are found to be willing to pay more to support both the architecture (samurai houses) and nature (cherry trees) than the samurai houses alone. Research limitations/implications The research findings add to the inventory of research on prior works in heritage trees, conservation of trees and heritage tourism, and cultural heritage assets in general. The empirical findings support prior theoretical works that examined the relationship of nature and art, art and architecture, and architecture as visual consumption. Practical implications The findings have managerial implications for policy makers relative to a possible increase of revenue by adding accompanying-nature component to focal architectural assets when soliciting funding support. Originality/value The originality and this piece stems from extending trees as an art form in nature and its added value to architecture within the context of cultural heritage assets. The empirical findings add to the much discussed relationships among art, nature, and architecture.
{"title":"What price beauty! Tourists willingness-to-pay for cherry blossom preservation","authors":"F. Sussan, H. Nakagawa","doi":"10.1108/AAM-02-2019-0010","DOIUrl":"https://doi.org/10.1108/AAM-02-2019-0010","url":null,"abstract":"\u0000Purpose\u0000Mapping the intrinsic value of the art of architecture and the art of nature within the context of Kakunodate and the preservation of its samurai manors and Sakura heritage trees, this paper proposes that from the perception of tourists, the preservation of both items is important. Extending the psychology of pricing that is subject to consumers’ preference and expectation to the context of valuation of cultural heritage assets, the purpose of this paper is to suggest that including the art of nature and the aesthetic of Sakura to the art of architecture (Samurai manors) will add more value to the cultural heritage of Kakunodate than when only the art of architecture is mentioned.\u0000\u0000\u0000Design/methodology/approach\u0000This paper uses Contingency Valuation Method to solicit tourists willingness-to-pay to preserve the architecture and the nature in Kakunodate. The survey uses a double bounded dichotomous choice model to elicit the various levels of tourists preference in various scenarios. Response from more than 1,000 tourists in three scenarios were collected. Through a maximum likelihood method and a subsequent truncated calculation, results are reported.\u0000\u0000\u0000Findings\u0000The results support the conceptual argument that the art of nature adds value to the art of architecture only. Tourists are found to be willing to pay more to support both the architecture (samurai houses) and nature (cherry trees) than the samurai houses alone.\u0000\u0000\u0000Research limitations/implications\u0000The research findings add to the inventory of research on prior works in heritage trees, conservation of trees and heritage tourism, and cultural heritage assets in general. The empirical findings support prior theoretical works that examined the relationship of nature and art, art and architecture, and architecture as visual consumption.\u0000\u0000\u0000Practical implications\u0000The findings have managerial implications for policy makers relative to a possible increase of revenue by adding accompanying-nature component to focal architectural assets when soliciting funding support.\u0000\u0000\u0000Originality/value\u0000The originality and this piece stems from extending trees as an art form in nature and its added value to architecture within the context of cultural heritage assets. The empirical findings add to the much discussed relationships among art, nature, and architecture.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-02-2019-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45533758","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-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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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。
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