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The purpose of this paper is to show that since its election in 1997, the Labour Government in the United Kingdom has pursued a policy agenda which in some senses represents a continuation of the New Right agenda it inherited. Central to this agenda has been the emphasis placed on choice in public services.

Within the context of the New Right agenda this paper explores the concept and suggested merits of choice in public service provision. It does so by focusing on the experiences in England, particularly in relation to health and education.

By reference to the empirical evidence, the paper evaluates the conceptual arguments in favour of choice and finds that the current emphasis is consistent with the news of the New Right.

The paper questions the merits of choice in public service provision and, in doing so, suggests that the apparent political consensus in favour of choice can not be justified.

The purpose of this paper is to consider whether art experiences can inform service‐dominant logic (SDL) discourse through an exploration of the co‐production and co‐creation processes of art experiences.

Empirical knowledge gained about art experiences is analysed to identify emergent themes about co‐production and co‐creation. Four modes of qualitative data collection are employed: research participant diaries, photo elicitation, in depth interviews and focus groups.

Key findings are there are three stakeholders involved in the co‐creation of art experiences, which all have critical and different roles; co‐creation and co‐production are both temporally based and evolving and there are points where they interact and intersect; and high levels of engagement in co‐production enhance individuals' contribution to the co‐creation of positive value and make their participation in future co‐production opportunities more likely.

The paper is exploratory and not a general population study. The methodology and sample of participants employed do not allow for the generalisation of the findings to the broader population.

Organisations may benefit from devising strategies to encourage greater dialogue and connection between all stakeholders involved in co‐production and co‐creation. The higher the level of individuals' co‐production of art experiences the greater likelihood of positive value being co‐created. Furthermore, the greater the possibility of individuals engaging in other co‐production experiences in the future. While individuals are attracted to co‐production possibilities, there are factors that are external to an experience that can act as either barriers to or facilitators of co‐production, and that consequently impact on co‐creation.

There is little extant research that explores the applicability of art experiences to SDL. This paper is significant in that it employs empirical research methods to develop knowledge on the topic. Furthermore, this paper is innovative in that it seeks to see whether the art experiences can inform generic marketing models, rather than whether generic marketing models can inform arts marketing.

Harry Potter is one of the world's most remarkable marketing phenomena. The purpose of this paper is to reveal that consumers interact with the Potter brand in a variety of ways, ways that parallel the four archetypal houses at Hogwarts School of Witchcraft and Wizardry.

The paper interrogates Pottermania by means of a longitudinal qualitative study of fans, non‐fans and neutrals.

The paper finds that, just as pupils at Hogwarts School of Witchcraft and wizardly are many and varied, so too Rowling's readers come in several distinctive forms. In keeping with the prototypical characteristics of the Hogwarts houses, four Rowling reading archetypes can be tentatively identified: Gryffindors, Hufflepuffs, Ravenclaws, and Slytherins.

This paper shows, contrary to the stereotype, that there is much more to Harry Potter consumers than the long lines of enthusiastic fans standing outside bookstores at midnight.

In a world where brands are narratives and consumers are readers, this paper shows that there are several distinctive modes of “reading a brand” and evaluates their implications for the future of the Harry Potter franchise.

The purpose of this paper is to empirically investigate the influences of sociodemographic (SD), environmental, and marketing mix variables on household art expenditure.

Using the latest US census data collect from 140 metropolitan statistical areas, three stepwise multiple regressions are employed to identify the key determinants of household art expenditure and their directional impacts.

The paper evinces that a set of SD, environmental, and marketing mix variables explains a large percentage of variation of household art expenditure. In addition to that, these variables influence household art expenditure differently.

Limited by data availability, this paper focuses on investigating the effects of variables with available measures. Future researchers are encouraged to include a broader range of variables in analysis whenever possible.

This paper suggests that art dealers use the approach adopted in this research to predict household art expenditure. Market entry decisions should be based on an assessment of market expansion potential and a full comprehension of the limitations imposed by an area's SD, environmental, and marketing mix characteristics.

This is the first study to empirically explain the variation of household art expenditure.

The purpose of this paper is to evaluate the connections between art and marketing in order to develop enhanced insight into how visual art and the art world can inform marketing theory and practice.

An indepth analysis of a range of relevant literatures is carried out in order to heighten understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analysis of their intersections is carried out.

A number of useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through visual art is seen as an avant garde response to addressing the continuing theory/practice gap.

Following an art‐based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Thinking about marketing through art should not be seen as a general panacea for addressing current inadequacies of marketing theory, but should instead be viewed as an alternative mechanism in which contemporary marketing theory and practice can be enriched by the transference and juxtapositioning of art‐based thought with long established ways of thinking about marketing.

Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques.

Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate.