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1 – 10 of over 68000Previous work by the author has focused on examining the limitations of the marketing concept and its associated frameworks, processes and prescriptions focusing on a planned…
Abstract
Previous work by the author has focused on examining the limitations of the marketing concept and its associated frameworks, processes and prescriptions focusing on a planned, strategic, linear, lower risk future for the firm. Emerging research has shown that such frameworks are now dated, despite being continually taught at business schools. Recent research at the interface between Marketing and Entrepreneurship has shown that, as a result of the inadequacies identified, there is hope for the entrepreneurial marketer (practitioner and academician alike) through the generation of alternative perspectives, and ultimately the formation of competing paradigms of marketing enquiry. Small firm marketing research shows that theories of networking, creativity, opportunity recognition and word of mouth marketing are much more valid in terms of their explanation and understanding of how such a firm behaves, rather than to endeavour to fit the square pegs of traditional marketing theory into the dynamic holes of the smaller firm operating environment. Drawing on alternative methodologies from outside the realms of marketing, this paper presents some thoughts on the merits of embracing the philosophy of researchers and practitioners in the arts and other creative fields in order to reach a more valid understanding of smaller firm behaviour.
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Ryszard Kłeczek and Monika Hajdas
This study aims to investigate how art events can enrich novice visitors by transforming their practices.
Abstract
Purpose
This study aims to investigate how art events can enrich novice visitors by transforming their practices.
Design/methodology/approach
This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.
Findings
The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.
Research limitations/implications
The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.
Practical implications
Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.
Social implications
The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.
Originality/value
The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.
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The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New…
Abstract
Purpose
The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art.
Design/methodology/approach
This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books.
Findings
Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies.
Originality/value
To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Ian Fillis and Ruth Rentschler
The main aim of this paper is to stimulate more relevant and critical ideas about marketing and the wider management field by exploring the actual and potential contribution of…
Abstract
Purpose
The main aim of this paper is to stimulate more relevant and critical ideas about marketing and the wider management field by exploring the actual and potential contribution of metaphor to marketing theory and practice. The subsequent connections made can help contribute towards understanding and coping with the theory/practice gap.
Design/methodology/approach
To date, the majority of metaphor application has tended to be literal and surface‐level rather than theoretically grounded. This paper interrogates the literature surrounding metaphor in marketing and management fields, while also examining the contribution of other areas such as art. The paper constructs and debates the conceptual notion of the marketer as an artist.
Findings
Incorporation of theoretically grounded metaphors into marketing theory can help develop a form of marketing which is capable of dealing with ambiguity, chaotic market conditions, creative thinking and practice.
Originality/value
Adoption of a metaphorical approach to marketing research helps to instil a critical and creative ethos in the research process. Marketers are concerned with identification and exploitation of opportunities. Metaphor assists in the process by enhancing visualisation of these future directions. We live out our lives to a large degree through the making of metaphorical connections. We should therefore embrace more qualitative, creative associations in marketing theory, as well as practice.
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Ian Fillis, Kim Lehman and Mark Wickham
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…
Abstract
Purpose
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.
Design/methodology/approach
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.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Originality/value
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.
Mervi Luonila and Annukka Jyrämä
The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.
Abstract
Purpose
The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.
Design/methodology/approach
Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field.
Findings
It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive.
Practical implications
The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation.
Social implications
The paper provides new knowledge of the variety of levels of relations in the value co-creation.
Originality/value
The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.
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Victoria Rodner and Chloe Preece
In the contemporary visual art market, for art to be valuable, it must be deemed authentic. In this chapter, we deconstruct the space within which the authentication of art takes…
Abstract
In the contemporary visual art market, for art to be valuable, it must be deemed authentic. In this chapter, we deconstruct the space within which the authentication of art takes place to understand the structural underpinnings of value and its ideological foundations. Through a three-part model, we demonstrate how authenticity in the art market, as a socially constructed concept, relies on the interpretation of cultural brokers who demonstrate recognition of the artist's vision in the work by placing it within an art context and thus legitimising it as culturally valuable. In our spatial analysis, we illustrate the complexity of visual art products and their valuation, demonstrating how authenticity operates through multiple dimensions. Ultimately, we demonstrate that authenticity is an autopoietic market practice which serves to further monopolise power.
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Gretchen Larsen and Daragh O'Reilly
The purpose of this Editorial is to introduce the reader to the changing environment of arts marketing, which poses challenges to researchers and necessitates creative methods of…
Abstract
Purpose
The purpose of this Editorial is to introduce the reader to the changing environment of arts marketing, which poses challenges to researchers and necessitates creative methods of inquiry.
Design/methodology/approach
The Editorial introduces the papers in this special issue.
Findings
It was found that creative inquiry in arts marketing includes the use of both established and innovative interpretive methods.
Originality/value
The Editorial explains how the application of creative methods of inquiry can aid our understanding of the relationship between art and the market.
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There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the…
Abstract
Purpose
There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.
Design/methodology/approach
Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.
Findings
The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.
Research limitations/implications
While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.
Originality/value
The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.
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