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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 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.

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.

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.

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.

This paper explores the nature of art as a product through a network perspective, accounting for key contributing stakeholders in shaping its essence.

This study adopted a qualitative data collection and analysis design and is centred on a series of face-to-face interviews with established Australian visual artists.

Results support the notion of an art product shaped by interconnections and interdependencies of actors in the art market. In particular, attention is paid to the roles of actors in conceptual, production and distribution networks.

Although there are idiosyncrasies that (in part) define the Australian art market context, the issues identified here are nonetheless useful in determining the nature of the interconnectedness of the art market in other similar Western contexts. Many Australian artists have achieved similar recognition and status to other established artists elsewhere. Future cross-cultural comparative research should be carried out in order to assess this relationship in the longer term.

Artists at different stages of their careers can transfer the findings of this research into the development of a series of relevant strategies and tactics for developing their art and culture products more effectively.

Although philosophical assessments of art as a product have been carried out elsewhere, there is a lack of evaluation from an art versus marketplace lens in considering the perspectives of interested stakeholders

Duchamp caused a revolution in the art of the twentieth century with the readymade concept, and simultaneously he opened Pandora's Box, which converted art into a simulation and made it dependent on discursive practices. This degenerated into a deconstructive vulgate when, from the 1960s onwards, an ‘aesthetic of banality’ was accentuated and the media institutionalized the ‘guerrilla’ between the practices and the discourses. Art ‘wrecked’ in a regime of hyper-reality of the image, and the art paradigms and criteria shifted from aesthetics to the law of the financial markets. At the same time, the proliferation of coexisting cultural ideas and a revolving cultural miscegenation ended up splitting the kingdom of the art. In the art world today, there is a cleavage between artists: on one side, the adepts to the heteronomy (a line that was born with ready-made products), those who, following dominant rules, work for the market and the organizations; on the other side, those, more passionate, for whom art is a hermeneutics for self-knowledge. Meanwhile, Picasso's aura returns to the art scene, in a panorama that until now was adverse to him.

The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement.

The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing.

The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences.

The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept.

In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion.

The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.

This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation.

The authors develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework.

The findings illustrate how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships as value is dispersed, situational and in-flux.

The authors problematise the view that value emerges as a result of operant resources “producing effects” through working on operand resources. Rather, adopting the socio-cultural approach, the authors demonstrate how value emerges and is co-constructed, negotiated and circulated. The authors establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is, therefore, dispersed. Moreover, power dynamics at play mean that “consumers” are not homogenous; some are more important than others in the valuation process.

This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation, which can be used in strategic decision-making.

This paper illustrates that value co-creation must be understood in relation to understanding patterns of hierarchy that influence this process.

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.

The purpose of this paper is to investigate whether and how participating in a branded Biennale (Venice) may legitimate and promote selected artists from the emerging markets of Venezuela and Thailand alongside art market leaders.

Research was conducted at the 53rd International Art Biennale in Venice, Italy, in June 2009. Underpinned by a constructivist approach, qualitative data were collected via participant observation, illustrative photography and semi‐structured interviews (average interview time 55 minutes) with curators and participating artists from two emerging markets: Venezuela and Thailand.

This research indicates that merely attending the Venice Biennale does not mean automatic branding for success: each artist's signature style must stand out within its cultural context for the branding effect to succeed. The conclusion compares and contrasts the effective relationship between identification and success for the two emerging economies within the world‐leader arts event in Venice.

This study contributes to the growing body of knowledge on arts management and events management, focusing on the until now unexplored area of contemporary arts marketing for the emerging economies of Venezuela and Thailand. The paper may aid emerging market art professionals in their strategy and planning to better benefit from the Venice Biennale's branding opportunity, as well as guiding scholarly research to a better understanding of the area.

This chapter addresses relevant academic discourses and theory development in the cross-disciplinary fields where the arts and business meet. Three specific discourses are investigated: the arts for business, the arts with business and the arts’ disruptive business (or against business). The manner of the investigation reflects the overall tone and approach of this book in that it includes an introductory review of the relevant literature as a means of distilling the key themes and theories that have emerged in this research field. The chapter will thus also add some reference value to the key questions of academic debate about the arts and businesses: where have we come from and where are we now? Some speculation on ‘where we are going’ is also included.

This paper aims to present a conceptual framework of how software teams can leverage the implicit information of implemented acceptance tests to cater to the needs of decision makers. The research questions on this framework were how business stakeholders can receive project status information in an intuitive way and how this framework can guarantee the traceability of tests to requirements.

The conceptual framework delineates the design of an acceptance test framework in three aspects: how the requirements model reflects the evolving states of requirement maturity over a project, how the acceptance test model becomes synchronized with the requirements model without a traceability matrix and how the acceptance test model communicates business value to the decision makers.

In an industrial case study, the presented framework yielded the positive effects of intuitive understanding by business stakeholders, high test coverage of requirements and distinctly reduced manual quality assurance (QA) work by automated testing for browsers and mobile devices.

The presented framework can help to convince business stakeholders to approve the budget for building a testing framework because it delivers them value as a status reporting tool.

This paper is the first to describe a step-by-step approach to solving a critical problem that IT departments frequently face. The solution consists in a new way of transforming the perception of a technical framework into a reporting tool for business information by intuitive design. The idea of mapping hierarchically corresponding abstraction layers can be transferred to other engineering domains.

The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years.

Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016.

The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein.

Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics.

The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field.

This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.