The purpose of this paper is to use the case of the Museum of Old and New Art (MONA) in Hobart, Tasmania, to investigate the role of entrepreneurial marketing (EM) in shaping an arts enterprise. It draws on the notion of effectuation and the process of EM in explaining new venture creation and assesses the part played by David Walsh, the entrepreneurial owner/manager.
This case study analysis enables an in-depth appraisal of the impact of EM and effectuation within the growing domain of arts marketing.
The paper offers a glimpse into how creativity and business interact in the creation of new markets. It demonstrates how formal methods of marketing are bypassed in the search for owner/manager constructed versions of situational marketing. In addition, it provides insight into dominance of entrepreneur-centrism vs customer-centrism in entrepreneurship marketing. An additional contribution to knowledge is the use of effectuation to assist in better understanding of the role of EM in the market creation process.
The research carried out here builds on a growing body of work adopting the EM lens to better understand arts marketing and new venture creation.
A survey of young microfirms was conducted to investigate their growth intentions. The findings confirm the distinct profiles of four types of firms categorized on the basis of current and future employment: Lifestyler, Entrepreneur, Manager, and Mover. They differ in terms of the owner's perceptions of the desirability and practicality of growing their firm, and with respect to the moderating variables of industry affiliation, business location, and investment level. Research issues and service implications for business support agencies are identified.
The literary world is an elitist enclave, where anti‐marketing rhetoric is regularly encountered. This paper aims to show that the book trade has always been hard‐nosed…
The literary world is an elitist enclave, where anti‐marketing rhetoric is regularly encountered. This paper aims to show that the book trade has always been hard‐nosed and commercially driven.
This paper is less a review of the literature, or a theoretical treatise, than a selective revelation of the commercial realities of the book business.
The paper shows that the cultural industries in general and the book business in particular were crucibles of marketing practice long before learned scholars started taking notice. It highlights the importance of luck, perseverance and, not least, marketing nous in the “manufacture” of international bestsellers.
By highlighting humankind's deep‐seated love of narrative – its clear preference for fiction over fact – this paper suggests that marketing scholars should reconsider their preferred mode of research representation. Hard facts are all very well, but they are less palatable than good stories, well told.
The paper makes no claim to originality. It recovers what we already know but appear to have forgotten in our non‐stop pursuit of scientific respectability.
THE new President of the Library Association, a handsome portrait of whom appears in the December Library Association Record, brings to the office the influences of a career of fine public service. We, in common with every journal that speaks to and for librarians, assure him of loyalty and congratulate ourselves on this addition to the roll of distinguished men who have served librarianship. The Record is wise in reminding us that we are more than a librarians' association and the regular election of men of affairs as presidents is a policy that used to be followed and should now be continued. The policy need not exclude in normal circumstances an alternate librarian president.