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Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

This chapter explores the role of entrepreneurship within the careers of fine artists. This is positioned within the context of the discourse of cultural value. How artists manage their artistic and, sometimes conflicting, entrepreneurial identities is explored. The fields of entrepreneurship, and more recently the creative industries, have received much attention from both policy makers and researchers. Fine artists are perhaps one of the least employable, and arguably most entrepreneurial (by necessity), as Higgs et al. suggest ‘some occupations naturally have substantially higher numbers of self-employed people such as “Artists” with 91% self-employment’ (Higgs, Cunningham, & Bakhshi, 2008, p. 94).

The study captures the career histories of a cohort of fine art graduates, all of whom had graduated at the same time (1994), from the same institution. Taking a narrative approach, detailed career stories were obtained. The relationship to and tensions surrounding entrepreneurship and artistic practice were explored in detail. While artistic identity emerges as a strong force for this group, artistic identity and entrepreneurial identity are sometimes at odds with each other. The practicalities of making a living as an artist, arguably, call for entrepreneurial activity. However, the findings suggest that this presents a conflict for some artists, both aesthetically and emotionally. This chapter explores what this means in the context of cultural value, and cultural value as a ‘lens’ for understanding an artist's career.

The chapter is concerned with the policy led by Paris and London towards the visual artists during the XXth century up to the present day. It examines in detail the evolution of the political system developed in France – as Paris was the center of artistic culture – from philanthropic initiatives, the “cités d’artistes,” to the introduction of painters and sculptors in social lodgings in the 1920s by the City of Paris. This impulse was supported by the Ministry of Culture. The expression of welfare state promoting artists in Paris is opposed to the emergence of “arts infrastructure” in the former industrial buildings of London through various artists’ associations, such as Space and Acme. From an historical research and a sociological analysis concentrated on Paris and its suburbs, our fieldwork, we studied an emblematic example, Montmarte-aux-artists, located in the 18th arrondissement the evolution of the welfare politics concerning artists’ studios in the urban renovation of Paris up to the present day. In contrast, the social support concerning the artists living in London is opposite and the effects on the urban area are different. Our research is inspired from the School of Chicago methodology. The main results of our research underline how the introduction of artists’ studios in social lodgings reveals an utopian dimension linked to the artist. So, the artist is considered as a singular inhabitant who can encourage the empowerment in the social housings or who can contribute to the phenomenon of gentrification in an area. However, the utopian role given to the artists is limited to the social and political system.

In the context of the protest against the recent Iraq War, some art and entertainment celebrities have used their access to mass media to publicly contest the legitimacy of governmental action. By doing so, they have turned themselves into new spokespeople, claiming to be more authentic intermediaries for the will of the voiceless. This paper – based on sociological interviews with various types of art professionals – focuses on how these representational claims were constituted and how they competed, objectively and sometimes explicitly, with the prerogatives that politicians hold by virtue of their election. I first analyze the public posture adopted by the artists. They fashioned themselves into “celebrity citizens,” which enabled them to assume a role of popular representation while maintaining a clear separation between this public function and their regular professional activity, in their particular art world. They based their legitimacy to talk politics on their access to and influence over extended audiences. The second section of this paper analyzes how the public of the arts is thus symbolically converted into a political public. In giving themselves a mission of political and civic education, the artists participated in publicly designing and promoting a new model of the “good citizen” mirroring their reinvention of the “good representative.”

The current study examines the effectiveness of brand integrations in music videos by taking into account the impact of both brand placement characteristics (i.e., brand prominence, valence of artist–brand relationship) and audience characteristics (i.e., artist connectedness).

A 2 (prominence: prominent vs. subtle) by 2 (valence: positive vs. negative) by 2 (connectedness: high vs. low) between-subjects experimental design is used. Each respondent first watched one music video via YouTube in which one branded product was placed either prominently or subtly. To manipulate the valence of the artist–brand relationship respondents were instructed to read a magazine article that revealed either a positive or negative attitude of the artist toward the placed brand. Two hundred twenty young adults participated in this study.

This study shows that prominent placements appear to be beneficial for the attitude toward the integrated brand when an individual is strongly connected to the artist in the music video, while subtle placements are beneficial both when an individual is weakly or strongly connected to the artist. Further, negative celebrity-brand relationships do not seem to affect brand attitudes in a negative way.

Embedding the brand in a music video gives marketers and advertisers the chance to reach consumers in a new, creative way. But this study shows that the advertiser should pay attention to the way in which the brand is integrated. Further, negative celebrity information does not seem to affect brand attitudes in a negative way. This makes the music video a very interesting medium for advertisers.

The current study contributes to previous research on brand placement by investigating the effectiveness of brand placements in music videos and the role of artist connectedness. In addition, the study is original as it includes valence in the model.

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.