Pub Date : 2021-07-04DOI: 10.1080/10632921.2021.1925194
Martine Lussier
Abstract In Québec (Canada), a growing number of cultural workers and artists are adopting the term “cultural mediation.” The notion has gradually imposed itself on decision makers at the municipal scale and has become one of the preferred intervention approaches by local cultural civil servants. The lack of definition of cultural mediation makes it an ambiguous concept. This uncertainty about its boundaries or its meaning, makes its key promoters, the municipal cultural workers, essential to its existence. Drawing on interviews with cultural workers and artists, this article looks at the role that cultural workers play to make the notion circulate, to instigate new projects and to affect others. In other words, despite their relative invisibility, these administrative workers participate in cultural mediation projects on an unsuspected scale and challenge the “arm’s length” principle generally used in Québec’s cultural domain.
{"title":"Cultural Mediation and Municipal Cultural Workers in Québec","authors":"Martine Lussier","doi":"10.1080/10632921.2021.1925194","DOIUrl":"https://doi.org/10.1080/10632921.2021.1925194","url":null,"abstract":"Abstract In Québec (Canada), a growing number of cultural workers and artists are adopting the term “cultural mediation.” The notion has gradually imposed itself on decision makers at the municipal scale and has become one of the preferred intervention approaches by local cultural civil servants. The lack of definition of cultural mediation makes it an ambiguous concept. This uncertainty about its boundaries or its meaning, makes its key promoters, the municipal cultural workers, essential to its existence. Drawing on interviews with cultural workers and artists, this article looks at the role that cultural workers play to make the notion circulate, to instigate new projects and to affect others. In other words, despite their relative invisibility, these administrative workers participate in cultural mediation projects on an unsuspected scale and challenge the “arm’s length” principle generally used in Québec’s cultural domain.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"251 - 264"},"PeriodicalIF":0.6,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1925194","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430084","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: 10.1080/10632921.2021.1918596
Guillaume Sirois
Abstract This article examines the development of a design policy in Montreal. It is based on a series of policy documents issued by the municipal administration between 2005 and 2018. The policy was developed in a context in which Montreal is attempting to rebrand itself as a “cultural metropolis.” Therefore, this policy is analyzed in relation to the creative city model. Three aspects of the policy are explored in detail: the vision of design; the support provided to its production, and its reception. The study concludes with a discussion of the increasing commercialization of the urban space and its relation to this policy.
{"title":"Design: An Emergent Area of Cultural Policy in Montreal","authors":"Guillaume Sirois","doi":"10.1080/10632921.2021.1918596","DOIUrl":"https://doi.org/10.1080/10632921.2021.1918596","url":null,"abstract":"Abstract This article examines the development of a design policy in Montreal. It is based on a series of policy documents issued by the municipal administration between 2005 and 2018. The policy was developed in a context in which Montreal is attempting to rebrand itself as a “cultural metropolis.” Therefore, this policy is analyzed in relation to the creative city model. Three aspects of the policy are explored in detail: the vision of design; the support provided to its production, and its reception. The study concludes with a discussion of the increasing commercialization of the urban space and its relation to this policy.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"238 - 250"},"PeriodicalIF":0.6,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1918596","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43449196","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 : 2021-07-01DOI: 10.1080/10632921.2021.1941467
Pierre Losson
Abstract The fear of setting a precedent is a much-rehearsed argument used by Western museums to refuse the return of cultural heritage objects to their country of origin. After proposing to consistently distinguish among returns, restitutions, and repatriations as distinct phenomena, the article details three reasons that contradict this fear of setting a precedent: as each case is historically situated, one agreement is not easily transposable to other cases; the current practice of returns does not suggest that massive transfers are looming; and, most importantly, there is no will or plan, among experts and political authorities in claiming countries, to ask for massive returns. In turn, the fear of setting a precedent does open questions about the future museums: are universal museums at risk of disappearing? The museum as an institution is hardly at risk, as objects returned to another country will continue to live in the world of museums. Western universal museums should see return claims as an opportunity to rethink their mission and relations with other museums worldwide rather than a threat.
{"title":"“Opening Pandora’s Box: Will the Return of Cultural Heritage Objects to Their Country of Origin Empty Western Museums?”","authors":"Pierre Losson","doi":"10.1080/10632921.2021.1941467","DOIUrl":"https://doi.org/10.1080/10632921.2021.1941467","url":null,"abstract":"Abstract The fear of setting a precedent is a much-rehearsed argument used by Western museums to refuse the return of cultural heritage objects to their country of origin. After proposing to consistently distinguish among returns, restitutions, and repatriations as distinct phenomena, the article details three reasons that contradict this fear of setting a precedent: as each case is historically situated, one agreement is not easily transposable to other cases; the current practice of returns does not suggest that massive transfers are looming; and, most importantly, there is no will or plan, among experts and political authorities in claiming countries, to ask for massive returns. In turn, the fear of setting a precedent does open questions about the future museums: are universal museums at risk of disappearing? The museum as an institution is hardly at risk, as objects returned to another country will continue to live in the world of museums. Western universal museums should see return claims as an opportunity to rethink their mission and relations with other museums worldwide rather than a threat.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"379 - 392"},"PeriodicalIF":0.6,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1941467","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47232808","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 : 2021-06-24DOI: 10.1080/10632921.2021.1925192
Anthony S. Rhine, Jay Pension
Abstract This article presents findings from a follow-up study focused on decision-makers in theater companies in the United States and their perceptions of MBA and MFA theater management programs. An original survey from 2005 and related article focused on the hiring needs and degree perceptions of arts leaders and managers (Rhine, The Journal of Arts Management, Law, and Society 37 (2):113–26, 2007). Here we present how these perceptions changed over the 13-year period of 2005–2018. The follow up reveals that MFA theater management programs have increased in perceived value, while MBA programs have decreased in perceived value. Though perceptions around the MFA in theater management and MBA programs did shift, decision makers still perceive “three years of experience” as more valuable preparation than any academic program.
摘要本文介绍了一项针对美国戏剧公司决策者的后续研究结果，以及他们对MBA和MFA戏剧管理课程的看法。2005年的一项原始调查和相关文章聚焦于艺术领导者和管理者的招聘需求和学位认知（Rhine，the Journal of arts Management，Law，and Society 37（2）:113-262007）。在这里，我们展示了这些观念在2005-2008年的13年期间是如何变化的。后续调查显示，MFA剧院管理课程的感知价值有所增加，而MBA课程的感知值有所下降。尽管对戏剧管理和MBA课程中MFA的看法确实发生了变化，但决策者仍然认为“三年的经验”比任何学术课程都更有价值。
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Pub Date : 2021-06-21DOI: 10.1080/10632921.2021.1925610
Insun Chung
Abstract This study clarifies the structure of the organized mobilization of student audiences with the film Tokyo Olympiad and attempts to reveal how the Japanese government was involved in the formation of the national identity of postwar generation through the film’s distribution process. As the mass mobilization project gradually materialized, the government desired to promote nationalism amongst the postwar generation, superseding the original intention to recoup the production cost. This change induced governmental intervention toward the artistic expression of cinema. It was observed that the method of mobilization of students and the governmental interruption were far from postwar democracy.
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Pub Date : 2021-06-01DOI: 10.1080/10632921.2021.1921642
M. Vecco, Simeng Chang, R. Zanola
Abstract Although the contemporary art system has experienced relevant changes in Mainland China over the past decades, only recently it gained an international reputation. Within this context, art fairs played a strategic role in developing relationships with players of the global art world. The aim of this paper is to analyze this internationalization process by focusing on two dimensional measures: the composition of galleries attending art fairs and their network embeddedness. Using Social Network Analysis (SNA) to explore contemporary art fairs in Mainland China over the period 2007–2019, we show the transition from local to international hub, suggesting the importance of art fairs as a potential soft power vehicle.
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Pub Date : 2021-06-01DOI: 10.1080/10632921.2021.1927278
Kinga Hamvai
In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors results in deaccession or layoffs (at least this is the case with many private institutions). The author is highly knowledgeable and active in the field: prior to this book, she has already published I Global Trends in Museum Diplomacy Post-Guggenheim Developments i (Grincheva [1]), which dealt with the issues of offline museum diplomacy, and which I have been lucky enough to review previously. The book opens the discourse concerning digital museum diplomacy and illustrates that the online spaces of museums can be regarded as new platforms for cultural diplomacy. [Extracted from the article] Copyright of Journal of Arts Management, Law & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
{"title":"Museum Diplomacy in the Digital Age","authors":"Kinga Hamvai","doi":"10.1080/10632921.2021.1927278","DOIUrl":"https://doi.org/10.1080/10632921.2021.1927278","url":null,"abstract":"In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors results in deaccession or layoffs (at least this is the case with many private institutions). The author is highly knowledgeable and active in the field: prior to this book, she has already published I Global Trends in Museum Diplomacy Post-Guggenheim Developments i (Grincheva [1]), which dealt with the issues of offline museum diplomacy, and which I have been lucky enough to review previously. The book opens the discourse concerning digital museum diplomacy and illustrates that the online spaces of museums can be regarded as new platforms for cultural diplomacy. [Extracted from the article] Copyright of Journal of Arts Management, Law & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"268 - 269"},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1927278","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46387163","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 : 2021-04-01DOI: 10.1080/10632921.2021.1900007
Javier Stanziola
Abstract If arts attendance is used to activate social comparison processes that strengthen group boundaries, it could help maintain or even increase conflict between different social groups as they are seen as opportunities to openly celebrate that resources are unequally shared in society. This article explores whether levels of education, income and occupation affect the likelihood of attending artistic events in Panama, one of the most unequal countries in Latin America. Using a binary logistic model, it models this likelihood testing two hypotheses. First, it is assumed that these drivers work as “sticks” that affect separately arts attendance. Then these variables are binned as a composite variable or bundle of sticks that proxies for group membership. Given the incipient state of cultural data and analysis in the field in Panama, the article seeks primarily to contribute to the theoretical conversation on art policies in small countries with high levels of inequality and the effects on economic disparity of efforts to increase attendance to artistic events.
{"title":"The Pretty Face of Inequality: Arts Attendance in Panama","authors":"Javier Stanziola","doi":"10.1080/10632921.2021.1900007","DOIUrl":"https://doi.org/10.1080/10632921.2021.1900007","url":null,"abstract":"Abstract If arts attendance is used to activate social comparison processes that strengthen group boundaries, it could help maintain or even increase conflict between different social groups as they are seen as opportunities to openly celebrate that resources are unequally shared in society. This article explores whether levels of education, income and occupation affect the likelihood of attending artistic events in Panama, one of the most unequal countries in Latin America. Using a binary logistic model, it models this likelihood testing two hypotheses. First, it is assumed that these drivers work as “sticks” that affect separately arts attendance. Then these variables are binned as a composite variable or bundle of sticks that proxies for group membership. Given the incipient state of cultural data and analysis in the field in Panama, the article seeks primarily to contribute to the theoretical conversation on art policies in small countries with high levels of inequality and the effects on economic disparity of efforts to increase attendance to artistic events.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"273 - 290"},"PeriodicalIF":0.6,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1900007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44595064","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 : 2021-03-31DOI: 10.1080/10632921.2021.1894285
David Teevan
tural occupations influences the very art that is composed and presented, which only serves to cement the norms people would hope to dislodge. Further, because it is so competitive to succeed in the cultural sector, those at the top are likely to have convinced themselves that while they may have had some “luck” along the way, they work in a world that is in fact meritocratic; this is true even though their political views lean predominantly to the left. And this is not new; to answer the question posed above, no, there was no golden age, and the arts have never been an engine of social mobility (though there are an exceptional few who do rise from the working class). All of this puts a tremendous burden on women and people from minorities. They can either endure the struggle of trying their best to fit with what is seen in the industry as the somatic norm or face persistent difficulties in finding work or advancement in the field. This sits atop the pressure of knowing that the opportunities for work in the cultural occupations is unequal; our well-being is reduced not only by not gaining the opportunities we hope for, but also for simply knowing it is an unfair contest. It weighs heavily. So, what is to be done? Two things. First, the degree of inequality in the cultural sector must be made visible. The stories of experienced inequality contained in this book, and all the thousands of others with their own experiences, must be told and heard. Those who possess all the advantages of “being the right fit” need deep understanding of the barriers facing those who do not. Second, and this will take longer: the “somatic norms” of the actor, the curator, the book reviewer, the film director, need to change. As that change takes place, the art that is made and presented to us will change, and so will the opportunities for all people to see something of themselves on stage, on the screen, and in the bookshop. Then culture will be good for you. This is the most vital book in cultural affairs I have read in years.
{"title":"The Routledge Handbook of Festivals","authors":"David Teevan","doi":"10.1080/10632921.2021.1894285","DOIUrl":"https://doi.org/10.1080/10632921.2021.1894285","url":null,"abstract":"tural occupations influences the very art that is composed and presented, which only serves to cement the norms people would hope to dislodge. Further, because it is so competitive to succeed in the cultural sector, those at the top are likely to have convinced themselves that while they may have had some “luck” along the way, they work in a world that is in fact meritocratic; this is true even though their political views lean predominantly to the left. And this is not new; to answer the question posed above, no, there was no golden age, and the arts have never been an engine of social mobility (though there are an exceptional few who do rise from the working class). All of this puts a tremendous burden on women and people from minorities. They can either endure the struggle of trying their best to fit with what is seen in the industry as the somatic norm or face persistent difficulties in finding work or advancement in the field. This sits atop the pressure of knowing that the opportunities for work in the cultural occupations is unequal; our well-being is reduced not only by not gaining the opportunities we hope for, but also for simply knowing it is an unfair contest. It weighs heavily. So, what is to be done? Two things. First, the degree of inequality in the cultural sector must be made visible. The stories of experienced inequality contained in this book, and all the thousands of others with their own experiences, must be told and heard. Those who possess all the advantages of “being the right fit” need deep understanding of the barriers facing those who do not. Second, and this will take longer: the “somatic norms” of the actor, the curator, the book reviewer, the film director, need to change. As that change takes place, the art that is made and presented to us will change, and so will the opportunities for all people to see something of themselves on stage, on the screen, and in the bookshop. Then culture will be good for you. This is the most vital book in cultural affairs I have read in years.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":"51 1","pages":"203 - 206"},"PeriodicalIF":0.6,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1894285","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42386247","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 : 2021-03-29DOI: 10.1080/10632921.2021.1887032
Paweł Fortuna, Artur Modliński
Abstract This paper shows that humans perceive the value of paintings made by AI as lower than the value of those made by humans when the creator of the work is known. This phenomenon occurs regardless of which style (figurative or abstract) the evaluated paintings have. The negative impact of the information that AI is the author of a painting is mediated by the author’s artistry (AA) and the overall impression (OI) the painting makes on participants. Moreover, it was found that people use context cues when assessing paintings made by humans and AI. The perceived value of a painting increases when the information about the value of the painting made by AI was provided as a context cue, indicating that people exclude works created by AI from the category of human-made art. The method used in the research is an experiment made with 296 respondents (42.6% female). The age of the participants ranged between 18 and 62 (M = 35.30, SD = 10.76).
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