Evaluation Guidelines for Art Organizations

1993 ◽  
Vol 6 (1) ◽  
pp. 273-287
Author(s):  
Chris Steiner
Keyword(s):  
Art Organizations

A Study on Factors Affecting the Management Performance of Art Organizations in Classical Music Market

2017 ◽  
Vol 32 (4) ◽  
pp. 255-278
Author(s):  
Hyun－Su Kim ◽  
◽  
Hyeog－In Kwon ◽  
Yong－Seok Choi ◽  
◽  
...  
Keyword(s):  
Classical Music ◽  
Management Performance ◽  
Factors Affecting ◽  
Music Market ◽  
Art Organizations

Space Making as Artistic Practice: The Relationship between Grassroots Art Organizations and the Political Economy of Urban Development

2019 ◽  
Vol 18 (4) ◽  
pp. 1142-1161 ◽  
Author(s):  
Shira Zilberstein
Keyword(s):  
Political Economy ◽  
Urban Development ◽  
Urban Space ◽  
The Political ◽  
Cultural Representations ◽  
Artistic Practice ◽  
Social And Cultural Capital ◽  
Art Organizations ◽  
Do It Yourself ◽  
The Relationship

Standard narratives on the relationship between art and urban development detail art networks as connected to sources of dominant economic, social, and cultural capital and complicit in gentrification trends. This research challenges the conventional model by investigating the relationship between grassroots art spaces, tied to marginal and local groups, and the political economy of development in the Chicago neighborhood of Pilsen. Using mixed methods, I investigate Do–It–Yourself and Latinx artists to understand the construction and goals of grassroots art organizations. Through their engagements with cultural representations, space and time, grassroots artists represent and amplify the interests of marginal actors. By allying with residents, community organizations and other art spaces, grassroots artists form a social movement to redefine the goals and usages of urban space. My findings indicate that heterogeneous art networks exist and grassroots art networks can influence urban space in opposition to top–down development.

scholarly journals FINANCE MANAGEMENT IN ARTS ORGANIZATIONS IN BULGARIA

2019 ◽  
Vol 7 ◽  
Author(s):  
Vesela Kazashka
Keyword(s):  
Financial Management ◽  
Small Scale ◽  
Arts Organizations ◽  
Finance Management ◽  
The Arts ◽  
Art Organizations ◽  
The One ◽  
And Control ◽  
Goals And Objectives

Arts organizations are a major factor in the Bulgarian economic. Good management of Art  organizations  is also associated with good financial management and control in order to achieve their  goals and objectives. The delegated budgets, the small scale of most of the Arts organizations, are a prerequisite for saving money or imposing the appointment of a financial controller. The lack of such a specialist in turn leads to poor control, inefficient spending of funds, violations and failure to verify costs, which can sometimes lead to bankruptcy. The objective of the report is two-sided - on the one hand, preventing the repetition of mistakes perceived as unsuccessful practices and, on the other hand, emphasizing the place and role of controlling the financial execution of a project and its importance for optimizing the effectiveness of the implementation as well as in the overall activity of Art  organizations.

Cultural policy and participatory art practices in Flanders

2019 ◽  
Vol 32 (2) ◽  
pp. 266-281 ◽  
Author(s):  
Kris Rutten ◽  
Helena Calleeuw ◽  
Griet Roets ◽  
Angelo Van Gorp
Keyword(s):  
Cultural Policy ◽  
Cultural Practices ◽  
Policy Framework ◽  
Structured Interviews ◽  
Content Type ◽  
Participatory Art ◽  
The Arts ◽  
Art Practices ◽  
Politics Of Resistance ◽  
Art Organizations

Purpose In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it. Design/methodology/approach In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices. Findings The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework. Research limitations/implications The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework. Originality/value The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

Official Art Organizations in the Emerging Markets of China and Russia

2015 ◽  
pp. 78-101 ◽  
Author(s):  
Svetlana Kharchenkova ◽  
Nataliya Komarova ◽  
Olav Velthuis
Keyword(s):  
Emerging Markets ◽  
Art Organizations

scholarly journals Audience Development of an Art Organization in Terms of Relationship Marketing

2019 ◽  
Vol 86 ◽  
pp. 98-115
Author(s):  
Ugnė Pavlovaitė ◽  
Ingrida Griesienė
Keyword(s):  
Relationship Marketing ◽  
Contemporary Art ◽  
Marketing Research ◽  
Research Data ◽  
Arts Organizations ◽  
Building Relationships ◽  
The Arts ◽  
Art Organizations ◽  
Audience Development ◽  
Art Industry

The article conceptualizes the audience of art organization, introduces the main art organization audience’s groups and analyzes the concept of relationship marketing in the context of art organizations. Relationship marketing tools are identified as an important instrumentality in order to develop and maintain networks between interested parties (various audience groups). The art industry is perceived as a medium for the implementation of relationship marketing. The theoretical platform model that is developed by art industry organizations is revealed as a universal and widely applicable tool among the biennials of contemporary art. The analysis of academic discourse presents the key groups of relationship marketing as well as dimensions which allows to evaluate the success of maintained networks. Following the features of public sector institutions a noticeable aspect in building relationships is the pursuit of economical benefit. Despite the economical benefits, interested audience groups of art organization are seeking of social benefits. At this point, the main relationship marketing dimensions – trust, commitment, satisfaction – are considered as a valuable measurement of the created platform network that reveals quality. It is concluded that arts organizations use appropriate relationship marketing tools to identify, establish, and maintain long-term relationships with their audience, for which the arts organizations provide additional organizational resources related to communication. The article presents an empirical study of the marketing relations of the biennial from research conducted in 2019 about the development of the biennial of contemporary art as an art platform where relationship marketing, as well as the main art organization audience groups, were presented. Case studies of the biennials of the contemporary art biennales Kaunas Biennial and EVA International were carried out. A qualitative study was chosen in order to empirically test the functioning of the theoretical model of the biennial as an art platform in terms of relationship marketing. Research data were collected using a qualitative (structured-standardized interview) research method. Following the analysis of the scientific literature and the empirical research data, guidelines for the development of an art organizations in terms of audience development were created.

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