Pub Date : 2021-09-15DOI: 10.1080/10632921.2021.1974630
H. Lee
Abstract The Arts Council is at a crossroad today. In both Britain and South Korea, its role has been reduced from the self-organized “policymaker” to “policy taker,” and it now adopts a broad, relativist understanding of culture. Yet, Arts Council England and Arts Council Korea are envisaging their future differently. The former works within the explicated cultural policy framework and embraces its new roles as a national developmental agency, keenly exploring the broadened understanding of culture. The latter is desperately seeking its future in reinforcing self-organization of arts policy and minimizing the influences by non-artistic factors.
{"title":"The Arts Council at a Crossroad: stories from Britain and South Korea","authors":"H. Lee","doi":"10.1080/10632921.2021.1974630","DOIUrl":"https://doi.org/10.1080/10632921.2021.1974630","url":null,"abstract":"Abstract The Arts Council is at a crossroad today. In both Britain and South Korea, its role has been reduced from the self-organized “policymaker” to “policy taker,” and it now adopts a broad, relativist understanding of culture. Yet, Arts Council England and Arts Council Korea are envisaging their future differently. The former works within the explicated cultural policy framework and embraces its new roles as a national developmental agency, keenly exploring the broadened understanding of culture. The latter is desperately seeking its future in reinforcing self-organization of arts policy and minimizing the influences by non-artistic factors.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48155996","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 : 2021-09-03DOI: 10.1080/10632921.2021.1961959
M. O’Brien
Much writing on the creative industries (my own included) emphasizes the links between neoliberalism and the commodification of culture that are considered to underpin the conceptual and policy shi...
{"title":"Red Creative: Culture and Modernity in China. By Justin O’Connor and Xin Gu","authors":"M. O’Brien","doi":"10.1080/10632921.2021.1961959","DOIUrl":"https://doi.org/10.1080/10632921.2021.1961959","url":null,"abstract":"Much writing on the creative industries (my own included) emphasizes the links between neoliberalism and the commodification of culture that are considered to underpin the conceptual and policy shi...","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41856834","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 : 2021-08-31DOI: 10.1080/10632921.2021.1951416
C. Vaughan
Graffiti has impressively remained a cool esthetic for the best part of fifty years. This is a consistency in fashion-ability only bettered by sunglasses. Given the global popularity, commercial use and institutional acceptance coupled with the ambiguity of its legal status, the question of graffiti and copyright is one that should attract anyone with an interest in the politics, economics and practise of popular and everyday culture today. Copyright at first may appear to be a contradiction to an idealized spirit of the graffiti writer apparently ‘gifting’ their work to the demos in the service of political transformation (Riggle 2010). However, as a critical frame it allows us to consider, from a legal perspective, what happens to this writing and image making. Enrico Bonadio is an attorney and lectures on intellectual property law. Following The Cambridge Handbook of Copyright in Street Art and Graffiti (Bonadito 2019), this is a distilled, straightforward and more accessible guide to some of the key issues, paradoxes, and the limited but growing case law in the area of graffiti and street art and copyright. Throughout, the corporate co-opting of the form by the fashion, food and tourist industries is acknowledged. No longer a simple act of illegality, street art has become the visual sign of gentrification. While artists have been recognized as a tool of gentrification (Rich 2019), the graffiti writers and street artists attack on the urban space positions them as the unwitting shock troops of gentrification (Andron 2018). Shock troops by definition take heavy losses and the value of this text is the clarity it offers the often-precarious creators to navigate the legalities of their practice to defend their often-vulnerable work. As an art form clouded by legal opacity, the mechanics of remuneration, reproduction and preservation all raise the specter of copyright. Bonadio bypasses the usual extended deliberation on the esthetic distinctions between graffiti and street art. Instead, they are considered together, as under his lens of copyright this is deemed an insignificant distinction. Also overlooked is the potential costs of considering graffiti and street art in terms of copyright. Copyright can be seen to symbolize the end of the form and its cool status insofar as it heralds a final commodification and institutionalization antithetical to its history. For a deeper discussion on the relationship of graffiti and the law, it is worth considering the recent literature in this area (Iljadica 2016; Baldini 2018 and Bonadio’s aforementioned edited volume). This a short jargon-free, image rich, introduction and the key concepts are illustrated with accessible examples that will be of particular interest to writers and artists. Where originality is a criterion for copyright, considerations such as quality, anti-establishment content or external placement are no barriers. Bonadio explains, “Street artists and writers can, if they so wish, rely on
{"title":"Protecting Art in the Street: A Guide to Copyright in Street Art and Graffiti, by Enrico Bonadio. Stockholm: Dokument Forlag","authors":"C. Vaughan","doi":"10.1080/10632921.2021.1951416","DOIUrl":"https://doi.org/10.1080/10632921.2021.1951416","url":null,"abstract":"Graffiti has impressively remained a cool esthetic for the best part of fifty years. This is a consistency in fashion-ability only bettered by sunglasses. Given the global popularity, commercial use and institutional acceptance coupled with the ambiguity of its legal status, the question of graffiti and copyright is one that should attract anyone with an interest in the politics, economics and practise of popular and everyday culture today. Copyright at first may appear to be a contradiction to an idealized spirit of the graffiti writer apparently ‘gifting’ their work to the demos in the service of political transformation (Riggle 2010). However, as a critical frame it allows us to consider, from a legal perspective, what happens to this writing and image making. Enrico Bonadio is an attorney and lectures on intellectual property law. Following The Cambridge Handbook of Copyright in Street Art and Graffiti (Bonadito 2019), this is a distilled, straightforward and more accessible guide to some of the key issues, paradoxes, and the limited but growing case law in the area of graffiti and street art and copyright. Throughout, the corporate co-opting of the form by the fashion, food and tourist industries is acknowledged. No longer a simple act of illegality, street art has become the visual sign of gentrification. While artists have been recognized as a tool of gentrification (Rich 2019), the graffiti writers and street artists attack on the urban space positions them as the unwitting shock troops of gentrification (Andron 2018). Shock troops by definition take heavy losses and the value of this text is the clarity it offers the often-precarious creators to navigate the legalities of their practice to defend their often-vulnerable work. As an art form clouded by legal opacity, the mechanics of remuneration, reproduction and preservation all raise the specter of copyright. Bonadio bypasses the usual extended deliberation on the esthetic distinctions between graffiti and street art. Instead, they are considered together, as under his lens of copyright this is deemed an insignificant distinction. Also overlooked is the potential costs of considering graffiti and street art in terms of copyright. Copyright can be seen to symbolize the end of the form and its cool status insofar as it heralds a final commodification and institutionalization antithetical to its history. For a deeper discussion on the relationship of graffiti and the law, it is worth considering the recent literature in this area (Iljadica 2016; Baldini 2018 and Bonadio’s aforementioned edited volume). This a short jargon-free, image rich, introduction and the key concepts are illustrated with accessible examples that will be of particular interest to writers and artists. Where originality is a criterion for copyright, considerations such as quality, anti-establishment content or external placement are no barriers. Bonadio explains, “Street artists and writers can, if they so wish, rely on","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44637468","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 : 2021-08-31DOI: 10.1080/10632921.2021.1918597
Shucheng Wang
Abstract The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these investors used a variation of the controversial “Saatchi model” to generate high ROI. A further effect has been to bring CCA onto the global stage and complete the ecosystem of the art industry, building a foundation for the art economy of post-Mao China.
{"title":"Foreign (In)Direct Investment in Chinese Contemporary Art Game: The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013","authors":"Shucheng Wang","doi":"10.1080/10632921.2021.1918597","DOIUrl":"https://doi.org/10.1080/10632921.2021.1918597","url":null,"abstract":"Abstract The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these investors used a variation of the controversial “Saatchi model” to generate high ROI. A further effect has been to bring CCA onto the global stage and complete the ecosystem of the art industry, building a foundation for the art economy of post-Mao China.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1918597","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43553865","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 : 2021-08-31DOI: 10.1080/10632921.2021.1919586
Josef Hanson
Abstract With the intent of supporting student artists’ entrepreneurial development, the purpose of this study was to design, administer, and validate a new instrument called the Arts Entrepreneurship Profile (AEP). Based on Thom’s (2016) framework of crucial entrepreneurial skills for artists, the AEP was developed to assist undergraduate arts students and their instructors in assessing propensities for thinking and acting entrepreneurially within an arts context. A multiphase approach comprising item development, content validation, pretesting, and questionnaire administration culminated in an exploratory factor analysis of the final instrument. Participants (n = 310) were undergraduate students studying an array of artistic disciplines at 10 universities in the United States. Results yielded a four-factor solution with 15 items representing (a) Opportunity Recognition in the Arts, (b) Arts Leadership, (c) Comfort with Uncertainty, and (d) Networking. The factor structure explained 39% of the variance in student responses. The AEP demonstrated varying reliability levels among its constituent subscales, reflecting its nascent construction and the need for further development and refinement. This study represents an important first step in establishing an empirically-credible assessment tool for understanding arts students and improving their professional preparation.
{"title":"Developing and Evaluating the Arts Entrepreneurship Profile: A Systematic Approach","authors":"Josef Hanson","doi":"10.1080/10632921.2021.1919586","DOIUrl":"https://doi.org/10.1080/10632921.2021.1919586","url":null,"abstract":"Abstract With the intent of supporting student artists’ entrepreneurial development, the purpose of this study was to design, administer, and validate a new instrument called the Arts Entrepreneurship Profile (AEP). Based on Thom’s (2016) framework of crucial entrepreneurial skills for artists, the AEP was developed to assist undergraduate arts students and their instructors in assessing propensities for thinking and acting entrepreneurially within an arts context. A multiphase approach comprising item development, content validation, pretesting, and questionnaire administration culminated in an exploratory factor analysis of the final instrument. Participants (n = 310) were undergraduate students studying an array of artistic disciplines at 10 universities in the United States. Results yielded a four-factor solution with 15 items representing (a) Opportunity Recognition in the Arts, (b) Arts Leadership, (c) Comfort with Uncertainty, and (d) Networking. The factor structure explained 39% of the variance in student responses. The AEP demonstrated varying reliability levels among its constituent subscales, reflecting its nascent construction and the need for further development and refinement. This study represents an important first step in establishing an empirically-credible assessment tool for understanding arts students and improving their professional preparation.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1919586","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45588941","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 : 2021-08-13DOI: 10.1080/10632921.2021.1961960
Jean-Michel Tobelem
{"title":"The Future of the Museum. 28 Dialogues, by András Szántó. 2021","authors":"Jean-Michel Tobelem","doi":"10.1080/10632921.2021.1961960","DOIUrl":"https://doi.org/10.1080/10632921.2021.1961960","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59647214","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 : 2021-07-29DOI: 10.1080/10632921.2021.1958113
P. Lonergan
{"title":"Imperial Encore: The Cultural Project of the Late British Empire","authors":"P. Lonergan","doi":"10.1080/10632921.2021.1958113","DOIUrl":"https://doi.org/10.1080/10632921.2021.1958113","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1958113","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41360935","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 : 2021-07-22DOI: 10.1080/10632921.2021.1951915
Tom Spurgin
{"title":"Audience Development and Cultural Policy","authors":"Tom Spurgin","doi":"10.1080/10632921.2021.1951915","DOIUrl":"https://doi.org/10.1080/10632921.2021.1951915","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1951915","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43470857","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 : 2021-07-04DOI: 10.1080/10632921.2021.1927279
Kristina J. Kolbe
{"title":"Access, Diversity, Equity and Inclusion in Cultural Organizations - Insights from the Careers of Executive Opera Managers of Color in the U.S.","authors":"Kristina J. Kolbe","doi":"10.1080/10632921.2021.1927279","DOIUrl":"https://doi.org/10.1080/10632921.2021.1927279","url":null,"abstract":"","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1927279","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46275450","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 : 2021-07-04DOI: 10.1080/10632921.2021.1925193
Johanna K. Taylor
Abstract Embedded artists in government incorporate connect art methods and esthetic perspectives in non-arts contexts, working in collaboration with government staff whether through their own professional choice or through a formal program established by a government agency or arts organization. This article contextualizes embedded artists in government in connection to artist residencies in the art world, arts in non-arts contexts, and creative placemaking to understand how work is framed and to demonstrate potential impacts while making suggestions for future research. Benefits include cross-sector collaboration and idea generation, with the potential for agency culture shift and systems change in how civic work supports residents.
{"title":"Art Practice as Policy Practice: Framing the Work of Artists Embedded in Government","authors":"Johanna K. Taylor","doi":"10.1080/10632921.2021.1925193","DOIUrl":"https://doi.org/10.1080/10632921.2021.1925193","url":null,"abstract":"Abstract Embedded artists in government incorporate connect art methods and esthetic perspectives in non-arts contexts, working in collaboration with government staff whether through their own professional choice or through a formal program established by a government agency or arts organization. This article contextualizes embedded artists in government in connection to artist residencies in the art world, arts in non-arts contexts, and creative placemaking to understand how work is framed and to demonstrate potential impacts while making suggestions for future research. Benefits include cross-sector collaboration and idea generation, with the potential for agency culture shift and systems change in how civic work supports residents.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1925193","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42988027","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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