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.

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.

scholarly journals Being-with: Access to Relation, Participation, and Togetherness in Contemporary Art

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Tony Valberg
Keyword(s):  
Contemporary Art ◽  
Social Space ◽  
Small Town ◽  
Art Practice ◽  
Research Project ◽  
Relational Practices ◽  
The Arts ◽  
The Social ◽  
Specific Setting

Being-with is an artistically based research project aimed at applying and studying participatory and relational practices within the arts as well as addressing the esthetical and ethical questions that such practices generate. The participants in Being-with – researchers and artists as well as children, parents, grandparents, siblings and other residents in the small town of Høvåg in Norway – gathered weekly for half a year to experience how aesthetic production may interact with social space and vice versa. The article reflects on what consequences such interaction may have for the conception of art, and its arenas and agendas … when we consider art not only as a reflection of our lives, but also as an agent shaping our lives and changing the social surroundings we are part of. The article relates discourses of aesthetics penned by continental philosophers over the last 50 years to a specific setting in a Nordic contemporary art practice.

Applauders and authors: Notes on the profits and losses of audience engagement

2020 ◽  
Vol 6 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Sophie Purchase
Keyword(s):  
Social Practice ◽  
Collaborative Work ◽  
Art World ◽  
Community Based ◽  
Audience Engagement ◽  
Building Relationships ◽  
Positive Effects ◽  
High Profile ◽  
The Arts ◽  
Venice Biennale

Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Building Relationships Between Business Schools And Students: An Empirical Investigation Into Student Retention

2011 ◽  
Vol 1 (11) ◽  
Author(s):  
Phani Tej Adidam ◽  
R. Prasad Bingi ◽  
Birud Sindhav
Keyword(s):  
Student Retention ◽  
Relationship Marketing ◽  
Business School ◽  
Structural Equation ◽  
Empirical Investigation ◽  
Business Schools ◽  
Equation Modeling ◽  
Marketing Theory ◽  
Building Relationships ◽  
The Relationship

This study uses the relationship marketing theory of commitment and trust as a framework to investigate the issue of student retention in business schools. Structural equation modeling was used to examine relationships specified by Morgan and Hunt's (1994) theory of relationship marketing.  Students' commitment to the business schools were determined by perceived benefits of attending the school, perceived similarity of values between the school and the students, and trust between the professors and the students.  Commitment increased intentions to remain at the business school.

scholarly journals Art for peace

2019 ◽  
Vol 9 (2) ◽  
pp. 63-74
Author(s):  
Vafa Afshar ◽  
Candan Terwiel
Keyword(s):  
Human Trafficking ◽  
Contemporary Art ◽  
Modern Times ◽  
The Arts ◽  
Healing Power ◽  
The World ◽  
Main Item ◽  
War Art

In this our modern times, many people, although not in every geography, had to live with wars and conflicts. Peace has always been the object of purchase, even if art cannot afford to prevent the war. Violence and war have become commonplace for everyone, especially for children. Exile, immigration, refugee, human trafficking issues, which have become a problem of the world as a result of war and violence, await solutions. Institutions, states and global organisations are trying to take big economic and social measures towards these problems; however the unresolved problems of the endless wars, the issues of war continue to be the main item of the agenda. For instance, the arts of Otto Dix, Kathe Kollwitz or our current days artists Tammam Azzam and Banksy. This study emphasises the belief that the art has a unifying, healing power, and therefore Art for Peace will continue to be made. Keywords: Contemporary art, peace, war, art.

scholarly journals Improving UK retail academic-practitioner research: insights from relationship marketing

2017 ◽  
Vol 45 (1) ◽  
pp. 4-19
Author(s):  
Nelson Blackley ◽  
Sheilagh Mary Resnick ◽  
Kim Cassidy
Keyword(s):  
Relationship Marketing ◽  
Qualitative Methodology ◽  
Academic Research ◽  
Retail Sector ◽  
Content Type ◽  
Building Relationships ◽  
Research Relationship ◽  
Multiple Data ◽  
The Uk ◽  
Relationship Benefits

Purpose The purpose of this paper is to explore the reasons for the continuing “gap” between UK retail academic research and practice. A relationship marketing (RM) lens, focussing on relationship antecedents, is used to develop a deeper understanding of the barriers to collaboration and propose new solutions to close the gap. Design/methodology/approach The paper adopts a qualitative methodology to compile the evidence, using multiple data sources to identify the dynamics of the retail academic-practitioner divide. Findings The research illustrates a marked absence of the majority of the customer focussed, seller focussed and dyadic antecedents, essential for effective relational exchanges, and highlights that at the heart of the problem lies a lack of shared understanding of mutual relationship benefits with academics currently neither motivated nor incentivised to develop such relationships. Research limitations/implications Further research is needed to explore what characterises a successful sustainable research relationship. There is also a pressing need to understand the experience, skills and knowledge of “boundary spanners” who operate successfully in both academic and business cultures. Practical implications Universities should adopt a strategic approach towards building relationships with retailers based upon relationship antecedents. Reward structures should be developed to encourage academics to develop research relationships. Resources should be allocated to better defining and communicating the benefits of a university research relationship with retailers. Originality/value There has been limited empirical research on the academic-practitioner gap within the context of the UK retail sector. The RM lens draws attention to new insights about barriers to successful relationships and generates concrete ideas for closing the gap moving forward.

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

Normative justification for public arts funding: what can we learn from linking arts consumption and arts policy in Israel?

2018 ◽  
Vol 18 (1) ◽  
pp. 193-213 ◽  
Author(s):  
Tal Feder
Keyword(s):  
Public Funding ◽  
State Intervention ◽  
Arts Organizations ◽  
Arts Funding ◽  
Arts Policy ◽  
The Public ◽  
The Arts ◽  
Using Data ◽  
Normative Justification ◽  
The Relationship

AbstractThis article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.

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