Pub Date : 2022-01-18DOI: 10.1080/10632921.2021.2018374
A. Gran, Terje Gaustad
Abstract This article concerns digitization of film distribution and exhibition in the entire cinema sector in Norway, its comprehensive consequences for diversity - seen from the perspective of cultural policy. The results of analyzing complete cinema statistics for three years (2008, 2013 and 2017) indicate that the digitization process “from film reels to film files” contributes to strengthened diversity in terms of repertoire, distribution and new audiences. For policy makers, cinema operators and researchers, the study presents positive intended and unintended consequences of digitizing the cinema sector. These positive consequences offer cinema operators new opportunities when it comes to repertoire diversity.
{"title":"Digitizing Cinemas – Comprehensive Intended and Unintended Consequences for Diversity","authors":"A. Gran, Terje Gaustad","doi":"10.1080/10632921.2021.2018374","DOIUrl":"https://doi.org/10.1080/10632921.2021.2018374","url":null,"abstract":"Abstract This article concerns digitization of film distribution and exhibition in the entire cinema sector in Norway, its comprehensive consequences for diversity - seen from the perspective of cultural policy. The results of analyzing complete cinema statistics for three years (2008, 2013 and 2017) indicate that the digitization process “from film reels to film files” contributes to strengthened diversity in terms of repertoire, distribution and new audiences. For policy makers, cinema operators and researchers, the study presents positive intended and unintended consequences of digitizing the cinema sector. These positive consequences offer cinema operators new opportunities when it comes to repertoire diversity.","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":"46022694","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: 10.1080/10632921.2021.2014010
F. Rojas, Peter Lista
Abstract This article presents a theory of contemporary art collectors. Using data from in-depth interviews with twenty-eight art collectors in the United States, Latin America, and Europe, recruited from art fairs and social media platforms, we describe the pathways into collecting and the types of social positions that collectors assume in the contemporary art field. Interviews describe three entry points into art collecting: purchasing art for decorative reasons; exposure to the art through attending college; and growing up in a family that participates in the arts. The interviews describe two ways that collectors interact with the art field. Sometimes, collectors are “hierarchically oriented” when they buy and sell art in ways meant to increase their status and financial position. At other times, collectors are “communally oriented” when they collect art that reflects personal relationships with artists and artist organizations. The discussion section addresses collecting as a lifestyle, study limitations, and avenues for future research.
{"title":"A Sociological Theory of Contemporary Art Collectors","authors":"F. Rojas, Peter Lista","doi":"10.1080/10632921.2021.2014010","DOIUrl":"https://doi.org/10.1080/10632921.2021.2014010","url":null,"abstract":"Abstract This article presents a theory of contemporary art collectors. Using data from in-depth interviews with twenty-eight art collectors in the United States, Latin America, and Europe, recruited from art fairs and social media platforms, we describe the pathways into collecting and the types of social positions that collectors assume in the contemporary art field. Interviews describe three entry points into art collecting: purchasing art for decorative reasons; exposure to the art through attending college; and growing up in a family that participates in the arts. The interviews describe two ways that collectors interact with the art field. Sometimes, collectors are “hierarchically oriented” when they buy and sell art in ways meant to increase their status and financial position. At other times, collectors are “communally oriented” when they collect art that reflects personal relationships with artists and artist organizations. The discussion section addresses collecting as a lifestyle, study limitations, and avenues for future research.","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":"46830595","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 : 2021-12-13DOI: 10.1080/10632921.2021.1997847
G. Helgadottir, Åsne Dahl Haugsevje, Heidi Stavrum
Abstract This study addresses a possible mismatch between political rhetoric on creative industries and tourism relations and the experiences and expectations that artists and workers in the creative industries have of their artistic work and their sector. In semi-structured interviews, we asked if and then how creatives and developers in Norway relate to the concept of tourism and whether they see tourists or the tourism industry as a target market for cultural products. Our findings suggest that developers are likely, but creatives unlikely to see a relation between creative’s work and tourism or tourists, and the tourism industry as a target market for cultural products. Tourism is in other words a blind spot in the business practices of creative entrepreneurs.
{"title":"A Blind Spot? Cultural Field Perspectives on Tourism","authors":"G. Helgadottir, Åsne Dahl Haugsevje, Heidi Stavrum","doi":"10.1080/10632921.2021.1997847","DOIUrl":"https://doi.org/10.1080/10632921.2021.1997847","url":null,"abstract":"Abstract This study addresses a possible mismatch between political rhetoric on creative industries and tourism relations and the experiences and expectations that artists and workers in the creative industries have of their artistic work and their sector. In semi-structured interviews, we asked if and then how creatives and developers in Norway relate to the concept of tourism and whether they see tourists or the tourism industry as a target market for cultural products. Our findings suggest that developers are likely, but creatives unlikely to see a relation between creative’s work and tourism or tourists, and the tourism industry as a target market for cultural products. Tourism is in other words a blind spot in the business practices of creative entrepreneurs.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44488480","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 : 2021-12-07DOI: 10.1080/10632921.2021.1997848
C. Dalla Chiesa
Abstract Crowdfunding is known as a funding solution for creative projects. Creators and business ventures consider crowdfunding as an outlet for promoting creative projects and raising funds. The literature and the media coverage overemphasized its benefits without taking into account key limitations for specific sectors. Based on exploratory, qualitative data gathering, this article investigates what artists expect from crowdfunding and what results from their successful engagement with this funding model. The findings organized in three sequential moments (pre-campaign, during and after) revealed that artists see crowdfunding as a contingent funding resort when other preferred methods are unavailable (subsidies, sponsorship, or labor market opportunities). While expecting to enter markets, artists remain restricted to their social networks, thus reaching successful, yet low funding targets. Artists report that the “investments” in their work resemble gift-giving practices of a costly nature. We interpret these findings as the result of a relative difficulty to reach out to other audiences and match one’s expectations with this funding model.
{"title":"The Artists’ Critique on Crowdfunding and Online Gift-Giving","authors":"C. Dalla Chiesa","doi":"10.1080/10632921.2021.1997848","DOIUrl":"https://doi.org/10.1080/10632921.2021.1997848","url":null,"abstract":"Abstract Crowdfunding is known as a funding solution for creative projects. Creators and business ventures consider crowdfunding as an outlet for promoting creative projects and raising funds. The literature and the media coverage overemphasized its benefits without taking into account key limitations for specific sectors. Based on exploratory, qualitative data gathering, this article investigates what artists expect from crowdfunding and what results from their successful engagement with this funding model. The findings organized in three sequential moments (pre-campaign, during and after) revealed that artists see crowdfunding as a contingent funding resort when other preferred methods are unavailable (subsidies, sponsorship, or labor market opportunities). While expecting to enter markets, artists remain restricted to their social networks, thus reaching successful, yet low funding targets. Artists report that the “investments” in their work resemble gift-giving practices of a costly nature. We interpret these findings as the result of a relative difficulty to reach out to other audiences and match one’s expectations with this funding model.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48115894","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 : 2021-11-17DOI: 10.1080/10632921.2021.1997846
A. Duffy
Abstract Women based in the U.S. often succeed in leading dance organizations by employing unique leadership practices. By examining national statistics to note the complex contexts of funding and support in dance and the diverse leadership styles of women artistic directors and choreographers as described in public scholarship, this article highlights major issues facing women in dance leadership roles and their particular strengths and success strategies. Women in the U.S. exhibit important leadership abilities, styles, and practices in response to their organizations’ unique needs and in the context of U.S. culture and funding requirements; these women leaders have influenced change in society and in dance since the 20th century.
{"title":"How Women Leaders of U.S. Dance Organizations Integrate Unique Leadership Approaches and Artistic Strategies to Increase Their Impact as Leaders and Benefit Their Organizations","authors":"A. Duffy","doi":"10.1080/10632921.2021.1997846","DOIUrl":"https://doi.org/10.1080/10632921.2021.1997846","url":null,"abstract":"Abstract Women based in the U.S. often succeed in leading dance organizations by employing unique leadership practices. By examining national statistics to note the complex contexts of funding and support in dance and the diverse leadership styles of women artistic directors and choreographers as described in public scholarship, this article highlights major issues facing women in dance leadership roles and their particular strengths and success strategies. Women in the U.S. exhibit important leadership abilities, styles, and practices in response to their organizations’ unique needs and in the context of U.S. culture and funding requirements; these women leaders have influenced change in society and in dance since the 20th century.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42659666","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 : 2021-11-11DOI: 10.1080/10632921.2021.1942361
M. Cheung, N. Smith, Owen Craven
Abstract Public art’s accessibility to a broad audience and its potential to bring together individuals from diverse backgrounds have granted it a unique power to make strong, enduring impacts on cities, places and people’s lives. The impacts warrant a systematic review and categorization, the results of which will provide insights that contribute to justifying the integral place of public art in society. As no such systematic review has previously been carried out, this article seeks to provide a qualitative synthesis of original articles selected from four major databases of international journals using a combination of keyword searches and filtering procedures. The 839 articles retrieved from the initial searches were screened by title and abstract. The remaining 132 articles were read in full, with 50 studies eventually being selected for analysis and synthesis. The public art impacts identified were organized into eight categories, in terms of placemaking, society, culture, economy, sustainability, wellbeing, wisdom and innovation. Implications were then drawn with respect to future research on the impacts and evaluation of public art.
{"title":"The Impacts of Public Art on Cities, Places and People’s Lives","authors":"M. Cheung, N. Smith, Owen Craven","doi":"10.1080/10632921.2021.1942361","DOIUrl":"https://doi.org/10.1080/10632921.2021.1942361","url":null,"abstract":"Abstract Public art’s accessibility to a broad audience and its potential to bring together individuals from diverse backgrounds have granted it a unique power to make strong, enduring impacts on cities, places and people’s lives. The impacts warrant a systematic review and categorization, the results of which will provide insights that contribute to justifying the integral place of public art in society. As no such systematic review has previously been carried out, this article seeks to provide a qualitative synthesis of original articles selected from four major databases of international journals using a combination of keyword searches and filtering procedures. The 839 articles retrieved from the initial searches were screened by title and abstract. The remaining 132 articles were read in full, with 50 studies eventually being selected for analysis and synthesis. The public art impacts identified were organized into eight categories, in terms of placemaking, society, culture, economy, sustainability, wellbeing, wisdom and innovation. Implications were then drawn with respect to future research on the impacts and evaluation of public art.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45731131","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 : 2021-10-25DOI: 10.1080/10632921.2021.1989352
T. Trần
{"title":"Value Construction in the Creative Economy: Negotiating Innovation and Transformation; the Industrialization of Creativity and Its Limits: Values, Politics and Lifestyles of Contemporary Cultural Economies","authors":"T. Trần","doi":"10.1080/10632921.2021.1989352","DOIUrl":"https://doi.org/10.1080/10632921.2021.1989352","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49432711","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 : 2021-10-21DOI: 10.1080/10632921.2021.1988789
R. Robinson
{"title":"Ruling Culture: Art Police, Tomb Robbers, and the Rise of Cultural Power in Italy","authors":"R. Robinson","doi":"10.1080/10632921.2021.1988789","DOIUrl":"https://doi.org/10.1080/10632921.2021.1988789","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45578423","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 : 2021-09-20DOI: 10.1080/10632921.2021.1974628
Berend Barkela
Abstract This study analyzes self–other agreement in leadership communication and its relation to knowledge integration across the artistic, technical and administration areas in theaters. Results of a cross-sectional survey among 177 managers and 249 employees of German theaters reveal that managers consider themselves attentive to all areas, but particularly sensitive to their own area. In contrast, employees assess leadership communication quality rather mixed and especially communication of managers from the artistic area as mediocre. Furthermore, results of a polynomial regression with surface analysis indicate that managers can reduce knowledge integration problems across the areas when being sensitive to employees in areas other than their own.
{"title":"Leadership Communication and Knowledge Integration across the Artistic, Technical and Administration Area in Theaters","authors":"Berend Barkela","doi":"10.1080/10632921.2021.1974628","DOIUrl":"https://doi.org/10.1080/10632921.2021.1974628","url":null,"abstract":"Abstract This study analyzes self–other agreement in leadership communication and its relation to knowledge integration across the artistic, technical and administration areas in theaters. Results of a cross-sectional survey among 177 managers and 249 employees of German theaters reveal that managers consider themselves attentive to all areas, but particularly sensitive to their own area. In contrast, employees assess leadership communication quality rather mixed and especially communication of managers from the artistic area as mediocre. Furthermore, results of a polynomial regression with surface analysis indicate that managers can reduce knowledge integration problems across the areas when being sensitive to employees in areas other than their own.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45371007","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 : 2021-09-20DOI: 10.1080/10632921.2021.1974629
Jennifer L. Novak-Leonard, R. Skaggs
Abstract In light of recent attention on artists as community assets, what is current U.S. public opinion on public support for artists? After tracing the history of perceptions of public funding of artists in the U.S., we turn to the contemporary moment. Using 2017 and 2019 data from novel national surveys of adults, this study examines opinions about whether artists should receive public funding. Logistic regression results reveal that historic demographic predictors of support for public arts funding also predict contemporary opinion about public funding for artists and, notably, that public opinion is significantly more supportive of public funding for artists when they are seen as collaborators, problem-solvers, and working to bring attention to community matters. These empirical results suggest new means for fostering and supporting artists’ work in local communities.
{"title":"American Perspectives on Public Funding for Artists","authors":"Jennifer L. Novak-Leonard, R. Skaggs","doi":"10.1080/10632921.2021.1974629","DOIUrl":"https://doi.org/10.1080/10632921.2021.1974629","url":null,"abstract":"Abstract In light of recent attention on artists as community assets, what is current U.S. public opinion on public support for artists? After tracing the history of perceptions of public funding of artists in the U.S., we turn to the contemporary moment. Using 2017 and 2019 data from novel national surveys of adults, this study examines opinions about whether artists should receive public funding. Logistic regression results reveal that historic demographic predictors of support for public arts funding also predict contemporary opinion about public funding for artists and, notably, that public opinion is significantly more supportive of public funding for artists when they are seen as collaborators, problem-solvers, and working to bring attention to community matters. These empirical results suggest new means for fostering and supporting artists’ work in local communities.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47718101","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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