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The aim of the study is to contribute to the extending body of literature on ‘the different effects of cultural engagement’ through cases from Turkey. In the context of art and society interaction, the study seeks to find evidence from practice within the scope of the ‘cultural value’ and ‘arts marketing’ literature. ‘Co-creation’ is mentioned as an important term in the cultural engagement context, and purposeful co-creation acts are investigated in the art industry. Therefore, the research focuses on interaction in the context of culture in order to explore the complex nature of co-creation of cultural value in alternative places and cultural frames. From this perspective, the study underlines the roles of place and atmosphere in the cultural engagement process. The cultural engagement areas of art and the public are determined in three different fields: nature (art in the village), science (campus) and business (shopping mall). The case study research is realised in order to gain a detailed and holistic view of the process. While the intention of all art events is the interaction of art and society, all three cases lead to different dimensions of ‘cultural engagement’ in different contexts. In this manner, these different cultural frames enlarge our comprehensive view of the constitution of ‘art and cultural value’ in terms of place and cultural frame of the field. The study underlines that society-oriented local art events and organisations are supporting the art and society link rather than focussing the economic value of art and artists as the actors of a commercial art industry.

Contemporary art organizations play a key role in driving cultural tourism, offering visitors memorable experiences. Among the segments of visitors, young adults represent a key target because they are the most interested customers in contemporary arts and they represent 23% of the international travelers. Despite their relevance, little is known about their customer experiences in contemporary arts, and the resulting arts engagement. Although their contemporary arts experiences are expected to generate great benefits in terms of social, ethical, and economical values for the entire society, the relationship between young adults and contemporary arts is typically difficult to understand and, consequently, to facilitate. To address this issue, we run a complex qualitative research project. Distinguishing young adults between those who are familiar with contemporary arts and those who are not, we conduct four research projects by applying two qualitative techniques: the in-depth interview and the Zaltman Metaphor Elicitation Technique (Z-Met). Further, we extend the in-depth interviews to the contemporary arts experts. In total, 70 consumers and 10 experts participate in the research project providing cognitive and emotional insights by exploring barriers and benefits of consumption in contemporary arts. Our findings show that arts engagement is the key concept, linked to three levels of consumer reactions – cognitive, emotional, and social responses – and that it is caused by three antecedents, namely – involvement, sharing, and comprehension. Implications for the actors in the world of contemporary arts and cultural tourism are discussed to obtain higher levels of arts engagement among young adults, and, consequently, their attractiveness.

Why should businesses invest in the arts? Why ‘sing for your supper’ when you can earn much more by coding? In an era when artificial intelligence (AI) is forecast to eliminate millions of jobs, many educators and policy-makers advocate scientific, technology, engineering and mathematics (STEM) education as the solution to future unemployment. They envision a workforce of diligent coders who automate everything, including their own jobs. While useful for finding tech jobs today, this myopic approach ignores the coming ‘Cambrian explosion’ of content and services that are being catalysed by exponential technologies. In Silicon Valley, virtual reality (VR) and augmented reality are already being applied to surgery, warehousing, retailing, architecture, construction, cars, therapy and concerts. Top VR managers and developers come from the social sciences and humanities, which provide the analytical and social skills for understanding customers and identifying new use cases and business models. STEM alone cannot answer the complex ethical and policy issues facing businesses: companies need employees with ‘soft skills’ who can integrate STEM with the arts (STEAM). In Silicon Valley today, the most challenging jobs are going to people who can offer practical answers to bottom-line questions about the value of social, cultural and artistic soft skills. What is the value of the arts for business growth? What can businesses learn from the creative industries? How can return on investment in the arts be measured? How will STEAM and exponential technologies enable new business models? How can STEAM education prepare people for the AI era?

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

In line with the reappraisal of the welfare state concept started in the 1980s and culminated in the recent economic crisis, governments have reduced the public funding available to cultural institutions. Thus, cultural institutions have progressively adopted more market-oriented practices, rethinking their relationship with the world of business in order to get additional economic resources. This chapter addresses corporate support to the arts and culture in the case of Italy, a country where government has traditionally played a central role in supporting culture. Drawing on the extant literature on sponsorships and corporate philanthropy, we propose a cluster analysis carried out on 160 investments in artistic or cultural activities made by 95 mid-sized Italian companies between 2008 and 2015. Results provide an up-to-date empirical evidence of corporate giving patterns in Italy and suggest an original typology of business investments in the arts and culture. Our study, focusing on the case of a Latin country and on a sample of mid-sized companies, extends the empirical settings usually investigated. Moreover, different from previous studies, we elucidate the influence that the characteristics of supporting organizations have on business investments in the arts and culture.

Drawing on the confirmation–disconfirmation paradigm and the elaboration likelihood model, this study builds and tests a conceptual model that examines the effect of perceived authenticity on affective and behavioural outcomes as well as the moderating role of consumer involvement on the link between authenticity and satisfaction. The model was tested on data collected from 224 members of a theatre audience using structural equation modelling. Results indicate that perceived authenticity associated with both the core arts product and the venue enhances audience satisfaction which is a strong predictor of intention to recommend. Audience involvement with theatre moderates the link between authenticity of venue and satisfaction, with this association being stronger for low-involvement consumers.

An inexorable pursuit of economic gain has ushered in fashionable, entrepreneurial manoeuvres in the arts. This has led not only to the acceptance of new sectoral categories, such as the creative industries, but also to a form of creative industrialization that encourages additive injections of market logic and notions of entrepreneurial value to an erstwhile dependent culture of the arts. Normative silo-based analyses continue unabated in the gnostic worlds of both the arts and entrepreneurship, with a tendency for the latter to ‘rescue’ the ‘failing’ arts. Application of market logic can, however, ignore the multivalence of entrepreneurship or the rich textures of meaning provided by the arts. It is suggested that a consideration of the centrality of imagination offers insights into different forms of value creation in entrepreneurship and of the creative entrepreneurial dimensions in the arts. A review is presented of how entrepreneurship has positioned itself in the arts and questions are raised about the constraints of a market logic approach. It is argued that such an approach promotes a deficit model of the arts and a stagnant, status quo understanding of entrepreneurship. By exploring various arts movements, such as the Bauhaus project, the legacy of Joseph Beuys’s philosophy and the unique, needs-focussed work of the Japanese architect Shigeru Ban, creative latitude can be found in the meaning of entrepreneurship as the mobilization of the resources of imagination.

The main purpose of this conceptual paper is drawing up a framework to assess the company responsibility regarding culture and fine arts. Since a rich cultural life requires variety and commitment to innovative and bold forms of cultural activity, the model should measure the corporate commitment to fostering axiological pluralism in the cultural sphere. A subordinate purpose is testing that model using primary data on the biggest Spanish listed companies. First, we define the corporate cultural responsibility (CCR) as a specific field of the corporate social responsibility. Second, we defend that corporate citizenship involves accepting some risks to be in line with the public expectations on arts and culture. Third, it is proposed an assessment model that takes into account the kind of cultural activities promoted by the firms, from conventional and uncommitted to innovative and provoking. The model makes possible to rank the companies according to the quality of their CCR and take into account the influence of size and sector. The model reveals whether firms support conventional versus challenging cultural activities. This should be taken into consideration both by CSR managers and policy makers. In spite of the mounting economic significance of symbols and creativity, there is still little literature that specifically addresses the role of firms regarding arts and culture as another facet of their responsibility as corporate citizens.

In today’s hypercompetitive, digital-first, knowledge-based economy, organizational creativity has never been more important as a potential source of competitive advantage. The foundation stone for every innovation is an idea and all ideas are born of creativity. The innovation process thus starts with creativity and the new ideas it yields are ideally based on insights that will lead ultimately to novel outcomes (such as new products, services, experiences or business models) and thereby to a sustainable competitive advantage. In established businesses, until relatively recently, creativity was called on only for specific, often high-profile occasions, for ‘hackathons’ or for major ‘innovation jams’, but today it is an essential, everyday necessity of routine work. However, attaining the right level of creativity from within is a challenge for many organizations and so they need to establish an appropriate and effective way to import it into their teams, projects and, ultimately, culture. The arts are a pure, unadulterated form of creativity. Mindsets, processes and practices from the arts can give organizational creativity a significant boost and can potentially offset the creative deficit in an organization. Here, the illustrative cases and practices that demonstrate how the arts can have a positive impact on business are examined.

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.