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The purpose of this paper is to go beyond the market–consumer intersection and investigate consumer collecting as a network constellation, which includes a range of material and human actants.

This research adopts a qualitative research process that includes non-participatory netnography and semi-structured online interviews to collect both textual and visual data. Researchers drew from the field of visual anthropology to analyse the visual data. In addition, thematic analysis was used to identify, analyse and report the patterns within textual data.

Findings of this research reveals key agentic properties of collection constellations and explains how they contribute to the development of seriality and the experience of novelty by shaping curatorial practices within collection pursuits. From the time a collection has been assembled to its countless re-configurations, the network that is composed of a focal collector and a host of other actants interacting within a particular collecting ecology plays an essential role in challenging the agency of the market and the individual collectors.

Although this research investigated consumer collecting from a network perspective, it did not explore changes within those constellations and how such changes implicate collecting behaviour. Therefore, future research may benefit from investigating network transformations on consumer collecting, particularly on curatorial practices and how they shape the trajectory of consumer collections.

Understanding collecting as a relational and iterative “network constellation” enables marketers to engage with their consumers in a more meaningful way. By actively seeking to use the network agentic properties, brands can aid avid handbag consumers and passionate collectors to keep their collections relevant and meaningful. It allows brands to play a role beyond the purchasing stage that characterises the market–consumer intersection and build comprehensive relationships with their consumers. Particularly, by adopting a networked approach, brands can provide collectors with privileged and scientific brand knowledge to help them caretake and experience their cherished possessions.

This study goes beyond the market–consumer intersection and atomistic explanations of collecting phenomena in its investigation and theorises collecting as a relational and iterative “network constellation”. It challenges the subject-oriented ontology of collections literature through explaining how such network interactions inspire collecting behaviours, help collectors maintain and celebrate their cherished collections and change the trajectory of collections pursuits.

The purpose of this paper is to provide an overview of the Professional Doctorate by Public Works (DProf by Public Works) one of the newer Doctorates by Professional Studies from the Institute of Work Based Learning in Middlesex University.

The DProf by Public Works is based on 75 per cent practice that has already taken place, and the 25 per cent Contextual Statement is a reflection on this practice encapsulated in no more than six Public Works, which places the researcher at the centre of the enquiry.

This paper focuses on a particular DProf by Public Works entitled “An entrepreneurial curatorial strategy for public spaces” and outlines how it was achieved by detailing the inter-professional and trans-disciplinary approach taken. The process undertaken to produce a self-reflexive and self-positioning statement reflecting on over ten years of independent curatorial practice of public art exhibitions is examined.

The Public Works and its supporting Contextual Statement make up the DProf by Public Works. These can be published works in the traditional sense or other embodied expressions of knowledge and practice such as collections of artifacts, videos, photographic records, musical scores, artworks, and exhibitions. This paper explores how individual critiquing at the highest level of enquiry in the Contextual Statement can transform research into future real-world strategic directions that influence thinking, action, and practice in the public domain.

Purpose: Curatorial consumption studies have hitherto focused on the consumption of family heirlooms. By exploring curatorial consumption within the context of vintage outlets, the authors extend its usage to other consumption sites, allowing them to further develop the construct.

Design/Methodology/Approach: Participant observation was employed at vintage outlets alongside in-depth interviews with 15 vintage traders incorporating object elicitation.

Findings: The authors identify the potential for curatorial consumption to help further develop understanding of individuals’ relationships with their possessions. The authors present a re-contextualization of curatorial consumption, which expands the term beyond caring for family heirlooms, allowing them to incorporate additional contexts. The authors identify vintage traders’ roles as guardians for their merchandise and their sense of responsibility to ensure objects’ circulation to future generations. The authors develop the findings around themes related to curation: acquisition, preservation, and transference. Running through these themes is an overarching concern for historical objects.

Originality/Value: While few studies loosely refer to curatorial consumption, the construct remains underdeveloped. The re-contextualization allows to unpack its potential to enhance understanding of individuals’ relationships with their possessions. In contrast to existing curatorial consumption work that emphasizes the sense of continuity with ancestors, the authors extend this to consider how connections with the past can be maintained beyond local family settings.

Recent archiving and curatorial practices took advantage of the advancement in digital technologies, creating immersive and interactive experiences to emphasize the plurality of memory materials, encourage personalized sense-making and extract, manage and share the ever-growing surrounding knowledge. Audiovisual (AV) content, with its growing importance and popularity, is less explored on that end than texts and images. This paper examines the trend of datafication in AV archives and answers the critical question, “What to extract from AV materials and why?”.

This study roots in a comprehensive state-of-the-art review of digital methods and curatorial practices in AV archives. The thinking model for mapping AV archive data to purposes is based on pre-existing models for understanding multimedia content and metadata standards.

The thinking model connects AV content descriptors (data perspective) and purposes (curatorial perspective) and provides a theoretical map of how information extracted from AV archives should be fused and embedded for memory institutions. The model is constructed by looking into the three broad dimensions of audiovisual content – archival, affective and aesthetic, social and historical.

This paper contributes uniquely to the intersection of computational archives, audiovisual content and public sense-making experiences. It provides updates and insights to work towards datafied AV archives and cope with the increasing needs in the sense-making end using AV archives.

This chapter applies strategic thinking and four-futures approach to developing a knowledge preservation and curation strategy. The authors explain how using the four futures as a baseline refocuses traditional strategy development from linear projections from the present to complex future situations, options, and choices. The refocus also shifts the end stage from evaluation and judgment to continuous assessments of activities, learning, and refresh. A baseline structure is presented as a model for readers. The authors also discuss operationalizing, assessing, and sustaining a knowledge preservation and curation strategy.

The purpose of this study is to examine the interplay between the curatorial practices of consumers as collectors and the materiality of the collected objects. In particular, this study explores how the material substances of collected objects shapes curatorial practices and how the ongoing use of the collected objects challenges curatorial practices.

Taking advantage of the publicization of once-private collections on social media, we collect 111 YouTube videos created by plastic shoe aficionados. Drawing from visual anthropology and theorizations of materiality, we analyze consumer interactions with the objects they collect.

This study’s findings elucidate consumers’ interactions with the material substances of the objects they collect and demonstrate how these interactions shape the ways in which consumers curate their collections, including how they wear, care for, catalog, and display the collected objects.

Our findings have implications for theorization on consumer collections, consumer identity, and consumer participation in brand communities and are relevant for consumer researchers who study the interactions and relationships between consumers and consumption objects.

This study is the first to re-examine consumers as collectors to extend and update consumer research on the curatorial practices of physical, wearable collectibles. This study sets the foundations for further research to advance our understanding of consumers as collectors as well as to illuminate other theories and aspects of consumer research that consider consumer–object interactions.

The rapid evolution of curation practices today is a response to expanded access to information and knowledge and the dynamic development of intelligent technologies well suited to curatorial practices. This chapter provides an overview of traditional curation theory and practice. It identifies its historical origins of anthropology, ethnography, museum work, and archival practices. The authors note that traditional curatorial practices have been a subset of preservation practices. Today it draws heavily from traditional practices but expands the goal and purpose beyond simple preservation to storytelling, learning, creating new perspectives, interpreting the past and present, and creating new business knowledge. The chapter lays out the emerging spectrum of curation purposes and practices. The widespread access to curatorial tools now opens curatorial work to the general public. More comprehensive access argues for a broader dialog around the new competencies and capabilities these new practices require.

The purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.

The authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.

The growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.

The first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.

The outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.

User participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.