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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.

The purpose of this paper is to examine the role played by the visual arts in expressing and shaping the nation brand. In doing so, it establishes the centrality of visual discourse in nation branding; illustrating that discursive strategies can directly alter the nation brand’s perception.

This single case study drawing on in-depth interviews, field observation and secondary/historical material, applies mediated discourse analysis and critical discourse analysis to capture a transitional period in the cultural policies and nation branding rhetoric across a time frame of 60 years.

This study establishes the visual arts as a significant carrier of meaning, thus reflecting changes in the national discourse. This analysis illustrates that publicly supported visual arts can articulate policy aspirations and provide insight into the power of competing national discourse which co-exists, thereby shaping the internal and external nation brand.

The study focuses on the visual arts and the context of Venezuela. Future research could expand this to look at the visual arts in other national or regional contexts.

The paper establishes visual art as central to expressing national identity and policy, and a tool for examination of national identity and policy. More broadly, the paper establishes public support for the (visual) arts as central to nation-branding projects providing insight for those engaged in such campaigns to prioritize arts funding.

The authors’ study indicates the marketing relevance of visualization of the nation through the arts and establishes the visual arts as a central tenant of the nation brand.

This paper aims to contribute to the development of a film brand theory and in doing so, illustrate the utility of a socio‐cultural approach to branding. The purpose is to develop the conceptual framework within which the film brandscape may be considered. An illustrative case study of the James Bond franchise is provided so that the potential application of the framework can be clearly understood.

The paper approaches the topic from a socio‐cultural perspective in order to take particular account of the symbolic nature of film offerings. It combines insights from contemporary production and consumption practices in the film industry with theoretical perspectives from marketing, branding, consumer, cultural and film studies. Although a conceptual paper, it incorporates an illustrative case, the James Bond franchise, in order to support the proposed brandscape.

Films are marked with signs of ownership and may carry other cues which function as risk‐reducing shorthand devices. Consumers look to brand characteristics as communicated through brand cues. Particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time.

This paper presents a theory of film branding which is primarily applicable to mainstream commercial films. The implications for marketing and branding scholars are highlighting the need to view brands within their wider brandscapes in order to understand how consumers understand brands in relation to one another. There is also a need to move beyond dominant relational modes of thinking about brands and consumers to consider the temporal nature of brand meanings.

The paper offers a theoretical approach enabling scholars in a range of disciplines to engage in cross‐disciplinary dialogue about film brands, thus facilitating debate and opening up new lines of research inquiry. The case study included is merely illustrative and further empirical studies are needed to test and develop the brandscape.

The paper develops the cultural approach to branding through introducing the idea of the granularity of the brandscape: particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time. Managerial decision making can be understood through considering the various cast and crew decisions, genre and positioning. Through understanding the granularity of the brandscape, marketing and branding practitioners can have a greater understanding of consumer sensemaking which can be used in strategic decision making.

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.