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Most previous studies of organizational change and resistance take an organizational perspective as opposed to an individual perspective. This paper investigates the relationship between irrational ideas, emotion and resistance to change. Nine organizations implementing major change were surveyed providing data from 615 respondents. The analysis showed that irrational ideas are positively correlated with behavioural intentions to resist change. Irrational ideas and emotion together explain 44 percent of the variance in intentions to resist. Also outlines an intervention strategy to guide management in developing a method for approaching resistance when implementing major change.

The purpose of this paper is to highlight the importance of the field of visual arts marketing in the development of wider branding theory and practice. Drawing on examples from visual artists and the art mechanism that connects them, the paper reveals how artists and art professionals foster various types of capital (social, cultural, symbolic) as a way of developing a brand name, ensuring longevity in the field, and gaining financial value on the market.

As a conceptual paper, the authors draw on a range of published works as well as examples from the world of visual arts in order to provide fresh theoretical insight into how branding in the arts may be applied to other industries.

The key findings are the importance of the consideration of the development and nurturing of social and cultural capital in developing brand identity. Additionally, visual art brands are required to be innovative and dynamic, and lessons learned regarding these processes have relevance for mainstream brands. The paper also found that creativity is often collective and that looking to methods for developing work in the visual arts can be utilised by brand managers more broadly in the age of social media and user generated content.

This paper follows on the developing body of work, which indicates what mainstream business can learn from looking at the visual arts. The paper highlights the collective nature of creativity in building the art brand as well as the importance of non-economic measures of value in the realm of branding.

This study aims to illuminate the way in which consumers question the authenticity and worth of musicians, leading to a classification of selling out. The authors contribute to the debate on authenticity by attending to the question of worth that is under-examined in existing literature, by drawing upon French pragmatic sociology with specific attention to convention theory to understand conflicting interpretations of worth.

The considerations music fans go through navigating whether artists are selling out and the loss of worth were explored through 22 semi-structured interviews, complemented by focus group discussions (20 participants) and analysis of an online video blog.

The study identified three key themes: “Authenticity and Worth in the Inspired World”, “Selling Out as Loss of Worth” and “Signifiers of Selling Out”.

The emergent themes enable us to understand the worth that consumers place on musical artists, and the clash between the ideologies of the market world and the inspired world. The ideas regarding selling out and the signifiers may apply to other consumption experiences where the clash between the inspired and the market worlds exists and the conflicting ethos of each can lead to a loss of worth and selling out.

In this research, the authors examine situations in which consumers stigmatise as “sell outs”, artists who are marketised under the influence of capitalist social relations of production. As a result, these artists lose their authenticity and worth in the eyes of consumers. In doing so, this research contributes to the debate on authenticity by attending to the question of worth that is under-examined in existing literature.

This paper examines the organizational consequences of aberrant decision making processes in terms of the continuum of knowledge management alluded to by T.S. Eliot (1969); namely information acquisition and use, knowledge and, in turn, insight and wisdom. The thesis of the paper is that a raft of recent corporate failures can be explained away in terms of managerial decision‐making processes that have destroyed the integrity of the organizational learning experience for these organizations, through the corrupt and dysfunctional behavior of their respective managerial elite. It is further argued that when viewed from an anthropological perspective this dysfunctional behavior is akin to cannibalism of the body corporate.

So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences.

The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions.

The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field.

Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

Despite the growing interest by scholars, practitioners and public policymakers, there are still divergent and fragmented conceptualizations of nation branding as the field is still developing. In response, the purpose of this paper is to review and synthesize nation branding research and to provide directions for future research.

The authors review peer-reviewed theoretical and empirical journal articles published during the last two decades – from 1998 to 2018. Selected journal articles on nation branding were subsequently synthesized for further insights.

The field of nation branding is fragmented and has developed in the course of the last two decades in different directions. This paper identifies key publication outlets and articles, major theoretical and methodological approaches and primary variables of interest that exist in the nation branding literature. The findings also highlight several research themes for future research.

This research fills a need to summaries the current state of the nation branding literature and identifies research issues that need to be addressed in the future.

The purpose of this paper is to investigate the role of mindfulness as a personal characteristic that might be associated with lower resistance to change during post-merger integration.

The sample consists of full-time employees at a subsidiary of a Japanese multinational bank in Bangkok, Thailand, that acquired a local financial institution (n=141). Data collection was initiated one month after the first date that the two banks officially merged. A self-administered questionnaire was prepared for data collection. Partial least squares regression was used to analyze the data.

The negative association between mindfulness and resistance to organizational change was indirectly explained by the degree of optimism and general self-efficacy associated with mindfulness.

First, the data were obtained through cross-sectional data collection. Second, the data were collected data from a single organization. Third, using the self-reported questionnaire survey to obtain the data can cause subjective bias in the measures. Lastly, the analysis did not incorporate organizational factors or management policies that might affect resistance to organizational change as control variables to capture their influence.

Mindfulness training may be considered as an intervention to help prepare employees for the organizational change during post-merger integration.

The results provide theoretical insights into the mechanism by which mindfulness contributes to the changed attitudes of employees during organizational change.

The purpose of this paper is to carry out a longitudinal review of arts marketing research.

The paper looks back at the origins of arts marketing research, identifying the initial areas of interest and traces its development as a recognised research domain.

Arts marketing research has evolved from being an application of marketing using long‐held principles into a discipline where critical and creative approaches are now being used to generate more meaningful and actionable arts marketing theory.

Although arts marketing research has developed in terms of rigour, depth and reach, there is still much unexplored potential to be realised.

The paper shows that effective arts marketing consists of a balance of addressing artistic needs and customer expectations. The marketing involved must acknowledge the merits of artistic philosophy, while also addressing the commercial realities of today's arts world.

Only a very small number of assessments of the state of arts marketing knowledge have been carried out. The paper develops both a longitudinal analysis of the origins and growth of this knowledge and provides suggestions for future research.

The purpose of this paper is to assess the notion of art as a product. This paper develops a detailed understanding of how established visual artists engage with the notion in their art making and market interactions, drawing insight from the longitudinal debate on the essence of art, including its connection with entrepreneurial marketing.

The authors uses a conceptual framework involving artists’ and other stakeholders’ philosophical positions, artists’ career stages, reputation (including branding), market associations and the forms of value generated by artists and consumers to help shape their qualitative research design involving in-depth interviews with 16 established Australian artists. NVivo software aided data analysis to improve theory building.

Market orientation, entrepreneurial market creation, co-creation, co-production activities and sharing value among interested stakeholders are important factors in viewing art as a commercial product. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. This paper identifies a fluidity in the relationship between an artist and their art.

Co-creation, co-production and sharing value among interested stakeholders are important factors as are market orientation versus entrepreneurial market creation activities. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product.

Established artists have made a conscious decision to engage, or otherwise with the marketplace. This research uncovers the merits of adopting a product approach in engaging with the market and artist centred creation which avoids marketplace interaction.

This research has the potential to contribute to policy decision-making in the sector and in stimulating future comparative research. There are wider implications for the cultural and creative industries where entrepreneurial market creation can stimulate creativity and innovation.