Pub Date : 2022-04-04DOI: 10.1080/10632921.2022.2052780
Mairead Quinn
{"title":"The Art Museum Redefined: Power, Opportunity, and Community Engagement","authors":"Mairead Quinn","doi":"10.1080/10632921.2022.2052780","DOIUrl":"https://doi.org/10.1080/10632921.2022.2052780","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43029499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-09DOI: 10.1080/10632921.2022.2041141
A. Whitaker
ABSTRACT This paper investigates the case study of William Powhida and two different contracts that the artist developed: first, the intentionally draconian contracts that the artist developed within an artwork, Grevsky, to force artists into subordinating their intellectual property position to commodification, and second, the contract that the artist William Powhida, the person, developed to ask his friends to help him store art. Applying Grant’s (2013) framework of givers, takers, and transactors, this paper presents a conceptual framework of ungenerous and generous contracts. The paper makes the argument that economic awareness, legal strategy, and a spirit of friendship can co-exist and that draconian contracts are rarely needed in an arts context in which stakeholders are likely to have shared interests in both sides of a contract. This analysis presents a more generalizable framework of non-zero-sum contractual negotiation in relation to the artistic and financial nature of works of art, as well as an argument for the importance of rhetoric and contractual structures of collaboration and friendship. These contractual questions become increasingly important as artists employ self-executing “smart” contracts for blockchain-based or non-fungible token (NFT) works, and as artists continue to rely on contracted freelance work. The increased reliance on digital working conditions creates higher stakes rights management given likelihood of recording.
{"title":"Generous and Ungenerous Contracts: Case Study of the Artist William Powhida’s Grevsky and Store-to-Own Contracts","authors":"A. Whitaker","doi":"10.1080/10632921.2022.2041141","DOIUrl":"https://doi.org/10.1080/10632921.2022.2041141","url":null,"abstract":"ABSTRACT This paper investigates the case study of William Powhida and two different contracts that the artist developed: first, the intentionally draconian contracts that the artist developed within an artwork, Grevsky, to force artists into subordinating their intellectual property position to commodification, and second, the contract that the artist William Powhida, the person, developed to ask his friends to help him store art. Applying Grant’s (2013) framework of givers, takers, and transactors, this paper presents a conceptual framework of ungenerous and generous contracts. The paper makes the argument that economic awareness, legal strategy, and a spirit of friendship can co-exist and that draconian contracts are rarely needed in an arts context in which stakeholders are likely to have shared interests in both sides of a contract. This analysis presents a more generalizable framework of non-zero-sum contractual negotiation in relation to the artistic and financial nature of works of art, as well as an argument for the importance of rhetoric and contractual structures of collaboration and friendship. These contractual questions become increasingly important as artists employ self-executing “smart” contracts for blockchain-based or non-fungible token (NFT) works, and as artists continue to rely on contracted freelance work. The increased reliance on digital working conditions creates higher stakes rights management given likelihood of recording.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44374426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-03DOI: 10.1080/10632921.2022.2038750
V. Jurėnienė, Ugnė Pavlovaitė, Dovilė Peseckienė
ABSTRACT Contemporary art biennials are one of the most important events that last for two years in the context of the contemporary art industry. Contemporary art events and biennials in different cities of the world are appreciated not only for their cultural or artistic value but also because they help to increase local popularity internationally from the economic perspective, thus, ensuring circulation of the art industry as well as the economy of local and international contemporary art market. The article analyses the case of Kaunas biennial revealing its evolution stages, structural and management changes, and creating its management model. The historical development of Kaunas Biennial started back in 1997, and in 2013, Kaunas biennial was included into one of the largest biennial foundations in the world. The biennial changed its management structure, and in 2013, Public Institution Kaunas Biennial was established. The comparative analysis presented herein reveals the general features of contemporary art biennials, their organizational structure and management models. Therefore, the input of this article into the management theory shall be based on a newly systematized theory basis by providing general contemporary art biennial development opportunities and applicability in further research.
{"title":"Kaunas Biennial: From Local Exhibition to Contemporary Art Platform Evolution Stages, Features and Management Models","authors":"V. Jurėnienė, Ugnė Pavlovaitė, Dovilė Peseckienė","doi":"10.1080/10632921.2022.2038750","DOIUrl":"https://doi.org/10.1080/10632921.2022.2038750","url":null,"abstract":"ABSTRACT Contemporary art biennials are one of the most important events that last for two years in the context of the contemporary art industry. Contemporary art events and biennials in different cities of the world are appreciated not only for their cultural or artistic value but also because they help to increase local popularity internationally from the economic perspective, thus, ensuring circulation of the art industry as well as the economy of local and international contemporary art market. The article analyses the case of Kaunas biennial revealing its evolution stages, structural and management changes, and creating its management model. The historical development of Kaunas Biennial started back in 1997, and in 2013, Kaunas biennial was included into one of the largest biennial foundations in the world. The biennial changed its management structure, and in 2013, Public Institution Kaunas Biennial was established. The comparative analysis presented herein reveals the general features of contemporary art biennials, their organizational structure and management models. Therefore, the input of this article into the management theory shall be based on a newly systematized theory basis by providing general contemporary art biennial development opportunities and applicability in further research.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43923390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-28DOI: 10.1080/10632921.2022.2034691
P. Booth, Sigrid Røyseng
Abstract This article analyzes visual artists’ response to online sales and dissemination technologies by mapping the range of corresponding positions and position-takings by professional artists in Norway. We consider whether artists’ responses align with traditional logics of artistic consecration identified in Bourdieu’s accounts of the field of cultural production, and how these responses correspond to Rogers’ theory of diffusion of innovations. Employing multiple correspondence analysis, we find position-takings toward online sales and dissemination can be structured by a dimension differentiating between technology-oriented optimism and techno-skepticism, between high and neutral levels of risk aversion toward online technologies, and thirdly between technology adopters and those still at an intentional stage.
{"title":"Artists and Online Dissemination: An Analysis of Positions and Position-Takings","authors":"P. Booth, Sigrid Røyseng","doi":"10.1080/10632921.2022.2034691","DOIUrl":"https://doi.org/10.1080/10632921.2022.2034691","url":null,"abstract":"Abstract This article analyzes visual artists’ response to online sales and dissemination technologies by mapping the range of corresponding positions and position-takings by professional artists in Norway. We consider whether artists’ responses align with traditional logics of artistic consecration identified in Bourdieu’s accounts of the field of cultural production, and how these responses correspond to Rogers’ theory of diffusion of innovations. Employing multiple correspondence analysis, we find position-takings toward online sales and dissemination can be structured by a dimension differentiating between technology-oriented optimism and techno-skepticism, between high and neutral levels of risk aversion toward online technologies, and thirdly between technology adopters and those still at an intentional stage.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43032086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-16DOI: 10.1080/10632921.2022.2030271
Hui-min Deng, Di Zhan
ABSTRACT Danmu is the Chinese pinyin of 弹幕, which is often used to describe the interactive, on-screen commenting system featured by both sub-cultural bullet-screen platforms and dominant video-sharing platforms. While the transformation of the power relationship between the public and the official and between viewer and author has received considerable scholarly attention, less attention has been paid to how the danmu system has affected the textuality of contemporary online audiovisual texts. Based on the Bakhtinian carnival, this paper explores the textual structure and signifying mechanism of danmu. It argues that danmu has dual textual identity, the paratext of online videos and the textual component of bullet-screen videos respectively. Danmu allows viewers to not only make comments on online videos but also reconstruct them. Such interactive construction of online audiovisual texts represents the rise of mass writing.
{"title":"Within a Carnivalesque Space: The Textual Identity of Danmu and the Rise of Mass Writing","authors":"Hui-min Deng, Di Zhan","doi":"10.1080/10632921.2022.2030271","DOIUrl":"https://doi.org/10.1080/10632921.2022.2030271","url":null,"abstract":"ABSTRACT Danmu is the Chinese pinyin of 弹幕, which is often used to describe the interactive, on-screen commenting system featured by both sub-cultural bullet-screen platforms and dominant video-sharing platforms. While the transformation of the power relationship between the public and the official and between viewer and author has received considerable scholarly attention, less attention has been paid to how the danmu system has affected the textuality of contemporary online audiovisual texts. Based on the Bakhtinian carnival, this paper explores the textual structure and signifying mechanism of danmu. It argues that danmu has dual textual identity, the paratext of online videos and the textual component of bullet-screen videos respectively. Danmu allows viewers to not only make comments on online videos but also reconstruct them. Such interactive construction of online audiovisual texts represents the rise of mass writing.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42327769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-10DOI: 10.1080/10632921.2022.2029786
Angie L. Miller, Nathan D. Martin, Alexandre Frenette
ABSTRACT Research on high-impact practices (HIPs) demonstrates positive links to student learning and development, but generally does not focus on discipline-specific activities, such as working with an artist in the community and portfolio completion. This study seeks to identify beneficial HIPs for arts training through an analysis of 23,916 arts alumni from 77 postsecondary institutions. A series of regression models suggest that HIP participation was associated with gains in academic abilities and career skills, higher levels of college satisfaction, more successful job searches, greater likelihood of employment in the arts and avocational arts practice, and more frequent arts community involvement.
{"title":"Unpacking High-Impact Practices in the Arts: Predictors of College, Career, and Community Engagement Outcomes","authors":"Angie L. Miller, Nathan D. Martin, Alexandre Frenette","doi":"10.1080/10632921.2022.2029786","DOIUrl":"https://doi.org/10.1080/10632921.2022.2029786","url":null,"abstract":"ABSTRACT Research on high-impact practices (HIPs) demonstrates positive links to student learning and development, but generally does not focus on discipline-specific activities, such as working with an artist in the community and portfolio completion. This study seeks to identify beneficial HIPs for arts training through an analysis of 23,916 arts alumni from 77 postsecondary institutions. A series of regression models suggest that HIP participation was associated with gains in academic abilities and career skills, higher levels of college satisfaction, more successful job searches, greater likelihood of employment in the arts and avocational arts practice, and more frequent arts community involvement.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49052061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-10DOI: 10.1080/10632921.2022.2030270
Edwin van Meerkerk
Abstract Research into cultural entrepreneurship has not yet yielded a single definition of the term, or consensus on assessment criteria. In policy practice, however, cultural entrepreneurship is used as a criterion for subsidies and grants. This article brings together the criteria surfacing in academic literature in a model that allows both researchers and policy makers to assess cultural entrepreneurship. This model is tested in six case studies from the Netherlands. The conclusions show that, by focusing on five categories derived from the stakeholders of each cultural entrepreneur, a balanced view can be obtained. It is hypothesized that strategic choices may underlie the unbalance found between the five categories with each institution.
{"title":"The Cultural Entrepreneurship Scorecard: An Instrument for Assessing Cultural Institutions","authors":"Edwin van Meerkerk","doi":"10.1080/10632921.2022.2030270","DOIUrl":"https://doi.org/10.1080/10632921.2022.2030270","url":null,"abstract":"Abstract Research into cultural entrepreneurship has not yet yielded a single definition of the term, or consensus on assessment criteria. In policy practice, however, cultural entrepreneurship is used as a criterion for subsidies and grants. This article brings together the criteria surfacing in academic literature in a model that allows both researchers and policy makers to assess cultural entrepreneurship. This model is tested in six case studies from the Netherlands. The conclusions show that, by focusing on five categories derived from the stakeholders of each cultural entrepreneur, a balanced view can be obtained. It is hypothesized that strategic choices may underlie the unbalance found between the five categories with each institution.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44733108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-18DOI: 10.1080/10632921.2021.2018375
Xuefei Li, Hua-liang Lu, Chengzhong Wu
Abstract This article constructs an expectation-evaluation-performance model to investigate the effect of word-of-mouth on movie box office performance in China. The findings indicate that online rating score positively affects the total box office revenue through influencing the resilience of its life cycle. Specifically, 1 unit increase of the rating score would make the decay index 73.5% higher on average, positively contributing to relevant revenue increase from the opening base. We also find that the impacts of expectation and rating vary among different genres, with larger influence among sci-fi, action, or comedy movies.
{"title":"The Destiny of Movies’ Box Office Performance in China: An Expectation–Evaluation Model","authors":"Xuefei Li, Hua-liang Lu, Chengzhong Wu","doi":"10.1080/10632921.2021.2018375","DOIUrl":"https://doi.org/10.1080/10632921.2021.2018375","url":null,"abstract":"Abstract This article constructs an expectation-evaluation-performance model to investigate the effect of word-of-mouth on movie box office performance in China. The findings indicate that online rating score positively affects the total box office revenue through influencing the resilience of its life cycle. Specifically, 1 unit increase of the rating score would make the decay index 73.5% higher on average, positively contributing to relevant revenue increase from the opening base. We also find that the impacts of expectation and rating vary among different genres, with larger influence among sci-fi, action, or comedy movies.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47183267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-18DOI: 10.1080/10632921.2021.2015033
Kathrin Schmidt
{"title":"Cultures of Participation: Arts, Digital Media and Cultural Institutions","authors":"Kathrin Schmidt","doi":"10.1080/10632921.2021.2015033","DOIUrl":"https://doi.org/10.1080/10632921.2021.2015033","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42514115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-18DOI: 10.1080/10632921.2021.2020196
Zexun Zhang
Along these lines, the volume presents critical voices of the industrialization of creativity in the creative economy. An important theme throughout many chapters is the delicate border between resistance or transformation and cop-option. It is a trap lurking in efforts to resist commercialization being submitted to the commercial practice it seeks to confront in the first place. While the first volume succeeds in showing the variety of value forms in the creative industries, it does not consider this tricky crossing. Though often shadowed, the forces behind co-option are powerful and prevalent in the processes of creative production. This invisibility of power draws an interesting angle with the invisibility of value central to the first book. Together, the works show the variety of approaches to the question of value at the heart of the creative economy. They also present the inherent complexity of value, resulting from its intangible and entangled performance as well as its inextricable link to questions of social inequalities, and exclusion, and politics. The large number of contributions cover rich, new empirical evidence that offers helpful insights for researchers, policy makers, and creative practitioners in the field. It should be noted, however, that in spite of several examples taken from different parts of the world, the volumes both convey a strong European flavor.
{"title":"Creating a Global Cultural City via Public Participation in the Arts: Conversations with Hong Kong’s Leading Arts and Cultural Administrators","authors":"Zexun Zhang","doi":"10.1080/10632921.2021.2020196","DOIUrl":"https://doi.org/10.1080/10632921.2021.2020196","url":null,"abstract":"Along these lines, the volume presents critical voices of the industrialization of creativity in the creative economy. An important theme throughout many chapters is the delicate border between resistance or transformation and cop-option. It is a trap lurking in efforts to resist commercialization being submitted to the commercial practice it seeks to confront in the first place. While the first volume succeeds in showing the variety of value forms in the creative industries, it does not consider this tricky crossing. Though often shadowed, the forces behind co-option are powerful and prevalent in the processes of creative production. This invisibility of power draws an interesting angle with the invisibility of value central to the first book. Together, the works show the variety of approaches to the question of value at the heart of the creative economy. They also present the inherent complexity of value, resulting from its intangible and entangled performance as well as its inextricable link to questions of social inequalities, and exclusion, and politics. The large number of contributions cover rich, new empirical evidence that offers helpful insights for researchers, policy makers, and creative practitioners in the field. It should be noted, however, that in spite of several examples taken from different parts of the world, the volumes both convey a strong European flavor.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44963252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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