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1 – 10 of 80Ian 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.
Ian Fillis, Boram Lee and Ian Fraser
The authors consider the role of institutional relationships in providing an exhibition as a launching platform for emerging artists to develop their careers, as well as…
Abstract
Purpose
The authors consider the role of institutional relationships in providing an exhibition as a launching platform for emerging artists to develop their careers, as well as contributing to the broader creative economy. The authors view this as an entrepreneurial intervention in challenging the status quo through its potential to stimulate artist career development.
Design/methodology/approach
Data were collected using a case study approach in order to understand the complex inter-relationships between stakeholders of an emerging artists' exhibition at a well-known art institution. A total of 26 interviews were held with a selection of the exhibiting artists, artists from previous years' exhibitions, institution staff, the exhibition selection panel and major prize givers.
Findings
The main relationship value created by the institution as perceived by the exhibiting artists was high-level publicity and exposure of their work. Related benefits such as the potential to build career-enhancing networks were also emphasised. Some of the artists interviewed were aware of the art market structure and how they could create and sustain value within it. Others expressed a lack of awareness of and interest in its operationalisation where more assistance from the institution could help.
Research limitations/implications
This research focussed on the institutional relationships relating to one organisation, albeit one which leads the way in terms of helping to accelerate emerging artist careers. However, best practice lessons emerge from the research in terms of informing similar institutions elsewhere. The authors move beyond quantitative measurement of cultural value activities in developing in-depth qualitative insight into these relationships so that more nuanced understanding is revealed.
Practical implications
There is a need to develop pathways to assist new graduates and for a more strategic focus by art institutions to help develop their careers by creating and sustaining impact and engagement in the marketplace. This will be of interest to policy makers in helping to shape programmes of assistance in the future beyond the art institution. The authors also uncover broader cultural value impacts beyond the exhibition site where these institutional relationships can contribute positively to health and well-being.
Originality/value
The exhibition is one of only a very limited number of similar events throughout the UK and can be viewed as a successful entrepreneurial intervention.
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Ian Fillis, Kim Lehman, Ruth Rentschler and Boram Lee
This paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries…
Abstract
Purpose
This paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.
Design/methodology/approach
The study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.
Findings
This study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.
Originality/value
The originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.
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Mark Wickham, Kim Lehman and Ian Fillis
This paper explores the nature of art as a product through a network perspective, accounting for key contributing stakeholders in shaping its essence.
Abstract
Purpose
This paper explores the nature of art as a product through a network perspective, accounting for key contributing stakeholders in shaping its essence.
Design/methodology/approach
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.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Originality/value
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
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Ian Fillis and Kim Lehman
The authors adopt a biographical methodology to investigate how a privately funded art museum has risen to become a key visitor destination on the island of Tasmania, Australia.
Abstract
Purpose
The authors adopt a biographical methodology to investigate how a privately funded art museum has risen to become a key visitor destination on the island of Tasmania, Australia.
Design/methodology/approach
The authors utilise both entrepreneurship and consumption as collecting lenses to gain insight into the success of a new arts venture. In addition to biographical methodology the authors utilise in-depth interviews and participant observation.
Findings
The analysis shows what can be achieved when alternative paths to creativity and innovation are pursued. The creativity inherent in such actions does not necessarily have to be substantial. Sometimes incremental approaches to achieving something different from the norm are sufficient.
Research limitations/implications
Implications include the continued merits of adopting a biographical approach to uncovering longitudinal insight into interlinking entrepreneurship and consumption practices. This approach enables key impacting events over time to be identified as they impact on the direction taken by the art entrepreneur.
Practical implications
There is growing evidence that administrative approaches to arts governance are limiting in their effectiveness. This paper addresses the call to be more entrepreneurial in arts governance practices.
Originality/value
There are only a limited number of papers on entrepreneurship and consumption in the arts and this research adds to knowledge in the area.
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Huifeng Bai, Jin Shi, Peng Song, Julie McColl, Christopher Moore and Ian Fillis
This empirical study aims to examine luxury fashion retailers' localised multiple channel distribution strategies in China.
Abstract
Purpose
This empirical study aims to examine luxury fashion retailers' localised multiple channel distribution strategies in China.
Design/methodology/approach
Through case studies of 15 participating retailers, qualitative data were collected from 33 semi-structured interviews.
Findings
Strong impacts of internationalisation strategies, distribution strategies and channel length towards multiple channel retailing are revealed. Multi-channel retailing is widely employed by firms who have entered China and further developed their businesses through local partnerships and adopted a selective distribution strategy via relatively longer channels. Omni-channel retailing is only suitable for the few retailers using an exclusive distribution strategy through direct marketing and wholly owned customer relationship management. As a dynamic transformation from multi- to omni-channel retailing, cross-channel retailing is adopted by those who are withdrawing from local partnerships and shifting to wholly owned expansions and operations in host markets.
Research limitations/implications
The results are potentially challenged by relatively small sample size.
Practical implications
Practitioners are suggested to adapt multiple channel retailing to their international expansion strategies, distribution strategies and channel length in the host markets.
Originality/value
This paper contributes to the literature in both multiple channel retailing and international retailing by offering insights into the motives, development patterns and suitability of multiple channel retailing in the international retail marketing context.
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Özge Gökbulut Özdemir, Ian Fillis and Ayşe Baş Collins
The aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art…
Abstract
Purpose
The aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art tourism and value co-creation literature. The role of art in tourism and the role of cultural places in arts marketing are also evaluated.
Design/methodology/approach
Focussing on two cultural heritage sites in Turkey, Zeugma and Göbeklitepe, a qualitative study was undertaken in order to determine the value creation and co-creation processes occurring from the art–tourism contexts based on comparative case study analysis. In-depth semi-structured interviews were conducted with three groups of actors. Motivation, expectation and stakeholder experiences were the main themes explored.
Findings
The findings of the study relate to the role of the co-creation process. Marketing art in alternative places creates value in closing the gap between art and society through the use of related fields such as culture and heritage. In terms of cultural value, the paper identifies the reconnection with cultural heritage through contemporary art. This is a way of looking at culture and its concepts in different time and place dimensions which make visitors more engaged with culture and its contemporary reflection through art.
Research limitations/implications
Although the research focusses on two Turkish art and tourism cases, future research can be extended to other countries, including the assessment of the longer-term role of similar activities.
Practical implications
As art is a subset of culture, the people who are interested in culture and history also have the potential to be interested in art. While art impacts on cultural tourism, cultural heritage and tourism work as arts marketing tools in a co-supporting way. The coming together of art and culture has societal benefits. There are lessons for practice such as the opening of a space for contemporary art in cultural heritage museums in order to promote art to society. The museum audience is an important potential for the future of art from a market generation perspective.
Originality/value
The study contribute to arts tourism, arts marketing and value co-creation in theory and practice.
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Ian Fillis and Kim Lehman
The authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an…
Abstract
Purpose
The authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an interrogation of Northern Ireland murals. In this paper, the authors elaborate on the links between arts marketing thought and the notion of hero and draw conclusions around what the authors see as a fruitful area for arts marketing theory.
Design/methodology/approach
The authors have adopted a narrative approach, incorporating biographical method, visual analysis and ethnography in interpreting cultural murals. The authors assess representative examples in Northern Ireland using a thematic framework.
Findings
The murals the authors assessed have evolved from having a specific community focus to increasing numbers which now represent a “shared”, and therefore more modern version of the hero.
Research limitations/implications
The authors identify an emerging, aesthetically balanced portrayal of cultural murals, with a different set of heroic priorities compared to the past, which should encourage further related research elsewhere.
Practical implications
Northern Ireland murals are no longer the preserve of specific communities and are now also shared spaces which appeal to both the local population and cultural tourists.
Originality/value
Although analysis and evaluation of political murals has been carried out in other disciplines, the authors add to the limited insight from an arts marketing perspective.
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Nicholas Wise, Özge Gökbulut Özdemir and Ian Fillis
While the theoretical interaction of the creative and cultural industries and entrepreneurship in business is gaining attention in the literature, such entrepreneurial practices…
Abstract
Purpose
While the theoretical interaction of the creative and cultural industries and entrepreneurship in business is gaining attention in the literature, such entrepreneurial practices are extending their role and position in the economy and in urban areas undergoing transformation. The purpose of this paper is to contribute to that literature by generating a model that links creative entrepreneurship with urban transformation as places see and expect continuous change and development.
Design/methodology/approach
The authors adopt a conceptual approach, embedded in a triple helix model, of creative entrepreneurship and urban transformation of the Baltic Triangle area of Liverpool, England. The authors inform this through a case study analysis, including qualitative interview data relating to the Baltic Creative.
Findings
The authors demonstrate the need for interdisciplinary research to assess value creation, value delivery and innovation as contributors to urban transformation based on creative entrepreneurship, while at the same time resulting in creative placemaking.
Research limitations/implications
This is a conceptual paper that will be used to frame future empirical research on generating additional insight by interviewing key actors to heighten understanding of innovation, value creation and value delivery process of placemaking, creative change and urban transformation.
Practical implications
This work can help inform creative policymaking, planning and development to achieve both social and economic impacts for a place and the wider region.
Originality/value
The authors both contextualize and show the transferability of the model, using the example of Liverpool’s Baltic Creative in Liverpool’s Baltic Triangle area of the city, highlighting the impact of creative change.
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