An obsolete meaning of  the word annotation is marking out an era using chronological notation (OED). This  is  the intention of this work, i.e., to chronologically mark out the pre-Common Law era of copyright and performing rights. It was an era  different yet similar to our post-Common Law  world. Questions of content and censorship, technological and cultural change, access to information and monopoly are some of the temporal  threads stitching the two together.  

 

 

Arts Management is anything but a mere amalgamation of the world of the arts and the world of business management; it is the confrontation of two opposing methodologies, one being a field of human creativity that produces something new that did not exist before, the other one diving into the existing world of business practices, in order to improve their efficiency.

Some references to (cultural) philosophy, (economic and arts) history and other important subjects are indispensable or at least helpful in understanding the chances and risks of arts management practices. This is the aim of this book, which is based on more than twenty years of teaching, researching, and consulting in the field of cultural administration and arts management.

In recent years, there have been significant shifts in arts marketing, both as a practice and an academic discipline. The relationship between art and the market is increasingly complex and dynamic, requiring a transformation in the way the arts are marketed.

Marketing the Arts argues that arts marketing is not about the simple application of mainstream managerial marketing to the arts. With contributions from international scholars of marketing and consumer studies, this book engages directly with a range of contemporary themes, including:

This exciting new book covers topics as diverse as Damien Hirsts 'For the Love of God', Liverpools brand makeover, Manga scanlation, Gob Squad, Surrealism, Bluegrass music, Miles Davis and Andy Warhol, and is sure to enthuse students and enlighten practitioners.

People tend to think of creativity and strategy as opposites. This book argues that they are far more similar than we might expect. More than this, actively aligning creative and strategic thinking in any enterprise can enable more effective innovation, entrepreneurship, leadership and organizing for the future.

By considering strategy as a creative process (and vice versa), the authors define 'creative strategy' as a mindset which switches between opposing processes and characteristics, and which drives every aspect of the business. Drawing experiences and cases from across this false divide: from the music industry, sports, fashion, Shakespearean theatre companies, creative and media organizations and the military, as well as what we might regard as more mundane providers of mainstream products and services, much can be learned from any of these arenas.

The book is structured around four aspects of strategy - innovation, entrepreneurship, leadership, organization - and four paradoxes of creative thinking - creating vs. discovering (innovation), diligence vs. dilettantism (entrepreneurship), seeing vs. doing (leadership), intensity vs. slack (organization).

"Milieus of Creativity" is the second volume in the book series "Knowledge and Space". This book deals with spatial disparities of knowledge and the impact of environments, space and contexts on the production and application of knowledge. The contributions in this volume focus on the role of places, environments, and spatial contexts for the emergence and perpetuation of creativity. Is environment a social or a spatial phenomenon? Are only social factors relevant for the development of creativity or should one also include material artefacts and resources in its definition? How can we explain spatial disparities of creativity without falling victim to geodeterminism? This book offers insights from various disciplines such as environmental psychology, philosophy, and social geography. It presents the results of a research conference at Heidelberg University in September 2006, which was supported by the Klaus Tschira Foundation.

Within the social, political, and economic realities of our century, globalization is a constant; its effects both wide-reaching and profound. Depending on perspective, globalization has been used - in the extreme both to praise the processes by which the world can become a world village; characterized by tolerance and respect for all cultures, and to curse those that inch us closer to the brink of ultra capitalism in a world of drab homogenization. Whether we are at the extremes, or somewhere in between, globalization and its implications for the arts and for culture, is something with which to contend.

In April 2007 specialists in cultural management met for two days in Helsinki to talk about globalization and the cultural field. For the cultural worker, is global citizenship a role to be taken or not? Is it an opportunity for artists and cultural workers that will lead to diversity and the flourishing of culture, or an insurmountable challenge? What are the risks, to cultural managers, in embracing new values, either those associated with globalization, or those that are opposed? These questions and many more fuelled the discussion and debate. This book provides a report of the proceedings with commentary by the editors.

Of value to practitioners, students, educators, and researchers, The Cultural Manager as Global Citizen provides a point of departure for thought, discussion, and reflection concerning many of the key questions presently confronting the field.

The Cultural Manager as Global Citizen. Symposium Series: Cultural Management and the State of the Field.
Helsinki, Finland 18-20th April 2007.

15 + postage

To order, please contact: pekka.vartiainen (at) humak.edu

Cultural Trends has been providing in-depth analysis of cultural sector statistics since 1989. It focuses on key trends within the fields of material culture, media, performing arts and the historic environment, and it includes coverage of issues which impact on the sector as a whole, such as the internet, poverty and access to the arts, and funding.

Cultural Trends is based on the assumption that cultural policy should be based on empirical evidence and it champions the need for better statistical information on the cultural sector. It aims to:

Cultural Trends has the same rigorous writing process as any academic journal. Articles are commissioned from leading authorities in the relevant field, and all are peer reviewed. Many chapters are appended by expert commentaries, which further explore and analyse the subjects covered.

The journal is widely read and referred to by arts funders, sponsors and administrative bodies; by local and central government officials; by broadcasting and arts organisations; by researchers, consultants and academics; and by those concerned with the promotion and development of the arts and creative industries.

Cultural Trends is not associated with any political party or pressure group.

Five issues per year

Print ISSN 0954-8963
Online ISSN 1469-3690

Many arts organizations today find themselves in financial difficulties because of economic constraints inherent in the industry. While other companies can improve productivity through the use of new technologies or better systems, these approaches are not available in the arts. Hamlet requires the same number of performers today as it did in Shakespeare's time. The New York Philharmonic requires the same number of musicians now as it did when Tchaikovsky conducted it over one hundred years ago. Costs go up, but the size of theaters and the price resistance of patrons limit what can be earned from ticket sales. Therefore, the performing arts industry faces a severe gap between earnings and expenses. Typical approaches to closing the gap--raising ticket prices or cutting artistic or marketing expenses--don't work.

What, then, does it take to create and maintain a healthy arts organization?

Michael M. Kaiser has revived four major arts organizations: the Kansas City Ballet, the Alvin Ailey American Dance Theater, American Ballet Theatre, and London's Royal Opera House. In The Art of the Turnaround he shares with readers his ten basic rules for bringing financially distressed arts organizations back to life and keeping them strong. These rules cover the requirements for successful leadership, the pitfalls of cost cutting, the necessity of extending the programming calendar, the centrality of effective marketing and fund raising, and the importance of focusing on the present with a positive public message. In chapters organized chronologically, Kaiser brings his ten rules vividly to life in discussions of the four arts organizations he is credited with saving. The book concludes with a chapter on his experiences at the John F. Kennedy Center for the Performing Arts, an arts organization that needed an artistic turnaround when he became the president in 2001 and that today exemplifies in practice many of the ten rules he discusses throughout his book.

Performing Arts Management is a must-read for every student and manager of performing arts, from theater to classical music, opera to dance. This comprehensive volume is packed with the wisdom and expertise of more than 150 nonprofit and commercial performing arts professionals who share their winning strategies for the workplace. Uncover the realities of running a performing arts organization today, as the authors offer extensive, in-depth information on:



Organizational Structures and Managerial Positions · Establishing a Mission Statement and Executing a Vision · Nonprofit Formation and Legal Considerations · Producing a Commercial Production · Managing Finances · Developing a Funding Base · Ticket Selling Strategies · Performing Arts Education · Labor Relations · Touring Productions · Facility Management · Career Development Strategies · Internships



Every type of performing arts organization is included, with commentary from managers at the Kennedy Center, the Brooklyn Academy of Music, Lincoln Center Festival, the Mark Morris Dance Group, the Minnesota Opera, and many more renowned industry leaders. Their practical tips and insider hints are illustrated by more than one hundred figures and appendices of sample organizational structures, job descriptions, business models, letters, income statements, operating budgets, and much more. Each chapter also highlights classroom discussion questions and contains a detailed resource list, including Web sites. Performing Arts Management is the most authoritative and up-to-date source for anyone in the field seeking successful business and communications practices.


August 2008,Allworth Press

Charlene Li and Josh Bernoff define 'the groundswell' as a social structure in which technology puts power into the hands of individuals and communities, not institutions. We see examples of this all around us: Second Life, You Tube, Twitter, etc. The technology that is enabling this has created a permanent, long lasting shift in the way the world works. This compelling and research-based book will not only identify the emerging components of this shift, but will also help companies build their businesses around it, regardless of what specific new technologies come along. The word on social computing has been out for a while. It's game changing. Books like Wikinomics begin to describe what the networked world has become. But institutions of all kinds need more than descriptive context. They need tools to navigate the shift in power that social computing and web communities have created. They need data on how their customers use and perceive new media, and guidance about what it means to their business. More than that, they need sophisticated advice that tells them how to turn this new reality to their advantage. This book provides that data and advice.

Li and Bernoff, well-known thought leaders in the area of social technology, have used their considerable resources at Forrester Research to generate hard consumer data that quantifies a viable business opportunity. Based on their work with dozens of companies presented in the book, the authors are able to credibly describe how business can participate in the new social medium in order to communicate with, energize, support, and learn from their customers.More importantly, their work offers proof that prepared organizations can reap significant financial benefits in product development, marketing, PR, sales, and customer retention. They will use their own proprietary data and additional survey research to illuminate the strategies appropriate for specific brands, media, outlets, institutions, and nations.

In Revolution or Renaissance, D. Paul Schafer subjects two of the most powerful forces in the world economics and culture to a detailed and historically sensitive analysis. He argues that the economic age has produced a great deal of wealth and unleashed tremendous productive power; however, it is not capable of coming to grips with the problems threatening human and non-human life on this planet. After tracing the evolution of the economic age from the publication of Adam Smiths The Wealth of Nations in 1776 to the present, he turns his attention to culture, examining it both as a concept and as a reality. What emerges is a portrait of the world system of the future where culture is the central focus of development. According to Schafer, making the transition from an economic age to a cultural age is imperative if global harmony, environmental sustainability, economic viability, and human well-being are to be achieved.

D. PAUL SCHAFER has worked in the cultural field for four decades, undertaken a number of missions for UNESCO, and taught at York University and the University of Toronto. He is the author of many publications on culture and the arts, and is director of the World Culture Project.


ENDORSEMENT OF REVOLUTION OR RENAISSANCE

A unique power of Paul Schafers new book - Revolution or Renaissance: Making the Transition from an Economic Age to a Cultural Age - is its comprehensive analysis of culture as a dominant force in global directions. He offers compelling arguments that the economic model guiding modern thinking must now be subsumed under a cultural model which provides a deeper and broader framework for grasping forces of today and tomorrow. This scholarly yet bold work helps strategically to orient us toward key contemporary issues.

James Peacock, author of The Anthropological Lens (Cambridge University Press, Revised Edition, 2001


REVIEW OF REVOLUTION OR RENAISSANCE
BY DR. JAMES PEACOCK, AUTHOR OF THE ANTHROPOLOGICAL LENS AND PAST PRESIDENT OF THE AMERICAN ANTHROPOLOGICAL ASSOCIATION

They know The price of everything, the value of nothing. Oscar Wilde, characterizing the market mentality

This magnificent and terribly important book has two parts:
THE AGE OF ECONOMICS and THE AGE OF CULTURE. The first begins with Adam Smith, The Wealth of NATIONS and traces the growth and influence of the market mentality as it has come to dominate the world. Schafer is very thorough and very balanced in telling this story and analyzing implications. In conclusion, he offers an excellent comparison of strengths and weaknesses of the market model: its huge achievements but also huge deficits.

The second part, THE AGE OF CULTURE, also is historically grounded, notably tracing the concept of culture back to the Romans, to Herder, and others, but the main emphasis is on the systematic power of the culture model to transform and save humanity. Here he expands the idea of culture to affirm its organic potential. Especially he is concerned to show how it includes the idea of ecology. If economy forces by its logic destruction of the earth (and one might imagine he would be critical of efforts at sustainable development where market incentives prompt ecology to a point but arguably only to a point), culture by its logic invites a more organic and holistic way of life that utilizes the marketplace where appropriate but is also grounded in life space and meaning as opposed to profit alone. A great strength of this argument and its presentation is that it is comprehensive. The authors knowledge is vast and he succeeds better than anyone I know in synthesizing this knowledge in a compelling argument that leads to a conclusion that has powerful implications. We must change!

What counter-arguments can be made? A wide spectrum are likely, from the right and from the left. From the right will come the usual claims about the power of the marketplace. He has already anticipated and answered these, calmly agreeing with claims for results but showing how those results, viewed in a broader, more systematic perspective are on balance negative in crucial respects. From the left will also arise a spectrum of counter-arguments. Start with those economists who critique the inequality of wealth and class in the world and propose strategies to reduce that inequality. Paul Colliers THE BOTTOM BILLION is perhaps the best of these analyses currently, but the problem with this analysis is the problem with other primarily economic strategies and that is all that is left out, including effect on the environment. Proceed to cultural critics. Culture itself is critiqued from many angles. It is imperialistic, paternalistic, simplistic, essentialistic, etc. Throw it out, choose something else such as identity, history, or some more specific less baggage-laden term. The problem with these critiques is that they throw away a comprehensive and somewhat comprehensible and increasingly known concept for others that lack these powers. The proof is in the pudding. One must assess the merits of Schafers argument and, if one dismisses the term culture, try another but only pursue it if it does the job. Dismiss any term, choose a process instead of a concept? Fine, but do not forget the larger and most crucial process of all, which is to save humanity by moving from the age of economics to something else, here characterized as the age of culture.

My main concern is not with the argument itself which, on the whole, I find compelling, but with how to disseminate it. Schafers book is subdued: a clear, comprehensive statement which I wish every thinker and leader would read. But how to get this message out? A quick perusal of airport bookshops shows a large section on business and no section for this kind of humanistic thought. University press books are virtually absent. One avenue to influence is organizations. Here the market/media industry trumps everything and the kinds of cells and study groups that have incubated revolutions are too slow for the urgent needs for change in our society. Al Gore tried rock concerts for global warming. The best bet for this book might be to hitch this cultural transformation to the movement toward environmental change. In any case, step one is: read this book.

From the best-selling author of The Rise of the Creative Class, a brilliant new book on the surprising importance of place, with advice on how to find the right place for you.

It's a mantra of the age of globalization that where we live doesn't matter. We can innovate just as easily from a ski chalet in Aspen or a beachhouse in Provence as in the office of a Silicon Valley startup.

According to Richard Florida, this is wrong. Globalization is not flattening the world; in fact, place is increasingly relevant to the global economy and our individual lives. Where we live determines the jobs and careers we have access to, the people we meet, and the "mating markets" in which we participate. And everything we think we know about cities and their economic roles is up for grabs.

Who's Your City? offers the first available city rankings by life-stage, rating the best places for singles, families, and empty-nesters to reside. Florida's insights and data provide an essential guide for the more than 40 million Americans who move each year, illuminating everything from what those choices mean for our everyday lives to how we should go about making them.

Richard Florida is Professor of Business and Creativity at the Rotman School of Management, University of Toronto, and the founder of the Creative Class Group, a for-profit think tank that charts trends in business, communities, and lifestyles. His national bestseller The Rise of the Creative Class was awarded the Washington Monthly's Political Book Award and Harvard Business Review's Breakthrough Idea Award. He lives in Toronto, Canada.

Budgets are getting lower, simultaneously the competitors become more and more. So the cultural sector is in the dire need of a long-acting restructuring . In the course of this structural modification entrepreneurship in the arts becomes more and more important.

In the second volume of An Anatomy of Ars Management the Institut für Kulturkonzepte Vienna and the Institut für Kulturkonzepte Hamburg pay attention to this trend and take part in the dialog around the very need of entrepreneurship in the arts with contributions from renowned authors and arts manager. The two main themes of this year`s volume are evaluation and theatre management.

An exercise in evaluation first requires targets to be set and mission statements to be defined and drawn up.The contributions by Oliver Bemmé and Birte Hedden look at the basic principles behind this very topic. The article by Birnkraut/Heller introduces a new evaluation system which has just produced its first, positive results in a practical setting.

Even the traditional German-speaking system of theatre has to face up to the economic challenge oft he 21st century. Therefore the contributions of the second chapter point up some strategies and approaches for theatre manager. Having been involved with the topic, Gregor Hopf is witnessing a constant reality check in the productions he oversees. Markus Miko presents the results of his latest studies, undertaken in 2007. Milena Dragievi ei offers an insight into the theatre landscape in Serbia, together with a look at the implications for arts policy. Yvonne Meyer from jazz organiser beeflat rounds things off with an insider`s view of the situation.

Finally Sebastian Berwerck writes about electronic music in the classical music scene, Sue Kay offers an insight into the management situation among British arts institutions, Monika Wagner reports on Hunger auf Kunst und Kultur, an initiative devoted to greater social justice, and Dirk Heinze from Kulturmanagement Network gives a review of the trends in 2007/2008.

With the launch of the volumes of An Anatomy of Ars Management the institutes establish a new link between research and practice in the field of arts management. This has been brought about by interdisciplinary contributions on a host of different themes an areas of activity. The first volume was published in 2007.

An Anatomy of Ars Management is a range of specialist books on arts management including articles in English and German.

Order at www.kulturkonzepte.at

Les années 90 sont marquées par une fréquentation accrue des musées et des sites. Le patrimoine est aussi le détonateur d'initiatives économiques spectaculaires dans des villes et des régions souvent oubliées. L'alliance tourisme-culture insère le patrimoine dans une dynamique économique et sociale européenne.



Claude Origet du Cluzeau, docteur en économie, est ingénieur-conseil en tourisme et culture.


# Poche: 127 pages

# Editeur : Presses Universitaires de France - PUF; 4e édition (5 octobre 2007)

This concise guidebook explains the purpose and expected benefits of international cultural cooperation, its risks and strategic issues, models and success factors. International cultural cooperation is analyzed here as a trajectory of professional development of individual and institutional operators and as a strategy to build an integrated, inclusive cultural space that will enhance the notion of European citizenship. Examples are offered from all parts of Europe and all disciplines. Cultural cooperation has been traditionally conceived as a matter of national governments and national cultural and foreign policy, not in a broad supranational perspective and not from the point of view of cultural operators themselves. Students previously had to rely on occasional articles and some governmental and academic studies of a rather narrow focus and national perspective.

Paperback: 172 pages

Publisher: Central European University Press (September 2007)

Artists will find forms to help them organize their office: a twelve-month planning calendar, financial statement, sales agreement, model release, Form VA, rental-lease agreement, artist-agent agreement, slide reference sheet, competition record, target market chart, monthly project status, show planner, sample letters to various art world professionals, pricing worksheet, bill of sale, and many more.



Constance Smith began her career as an art rep in California. She has been assisting artists nationwide for over twenty years. She is author of the popular book Art Marketing 101.



Sue Viders has been an art marketing consultant for over thirty-five years.


Paperback: 112 pages

Publisher: ArtNetwork (May 1, 2007)

This user-friendly and up-to-date handbook takes new and professional artists through the basics of creating a successful business. Artists will learn how to couple their creativity with clever business sense to establish a lucrative art career. An at-a-glance layout makes information easily accessible and encourages artists to make notes, fill in the blanks, and use checklists, featuring: New to this edition: Internet marketing advice; Innovative marketing ideas for the new millennium; A resource section in the back of the book; In addition to these effective offerings: Alternative avenues for selling art; Tricks to succeeding without a rep; How to build positive name recognition through marketing and publicity tactics; Sound advice on legal issues, such as licensing, copyrights and contracts; Guidelines for preparing a marketing and business plan; What's more, readers will find dozens of helpful tips, contact information, forms and research data to help them further their careers.

Table of Content


1. The Psychology of Success

2. Business Basics

3. Number Crunching

4. Legal Protection

5. Pricing

6. Shipping and Displaying

7. Planning an Exhibition

8. Creating an Image

9. Resumés

10. Photographing Artwork

11. Presentation Finesse

12. Navigating the Art Market

13. Promo Pieces

14. Sales Techniques

15. Advertising

16. Pitching the Press

17. Reps and Galleries

18. Shows and Fairs

19. Locating New Markets

20. Alternatives to Sales

21. Marketing Plans



Paperback: 279 pages

Publisher: ArtNetwork Press; 3nd edition (March 2007)

Since its first edition in 1987, Fundamentals continues to offer a useful refresher to the basics as well as new understanding regarding how to integrate and gain support for the arts in the social, economic, and cultural fabric of communities. Now in its 5th edition, Fundamentals of Arts Management updates and expands what has become a primary and trusted reference book for arts managers and students of arts administration, as well as programmers who wish to incorporate the arts in human service, education, and a range of other community organizations.

Anchoring the book are eleven tried and true chapters providing principles and best practices for managing and governing community arts organizations; raising funds; and presenting, promoting, and evaluating arts programs. Four new chapters cover fundamentals of personnel management, writing successful funding proposals, advocating effectively for the arts, and maximizing the arts role in the economic development of communities. Nationally recognized leaders and authors in the community arts field offer historical and contemporary context regarding the role of the arts in community, as well as insights about arts education and cultural accesstwo important dimensions of local arts agencies work.

Also new are Online Companions to several chapters. Easily accessed Online Companions offer expanded exploration of subject matter; worksheets and other practical tools that can be downloaded and used or adapted; and valuable resource listings that point to organizations, publications, and websites.

Fundamentals of Arts Management is published by the Arts Extension Service with funding from the National Endowment for the Arts, the Bill and Sally Venman Community Arts Endowment Fund and the Division of Continuing Education at the University of Massachusetts Amherst.

Content:


I. Introduction.

1. Introduction and overview (V. Ginsburgh, D. Throsby). 2. On arts economics and the new economy (W. Baumol).



II. History and Method.

3. Art and culture in the history of economic thought (C. Goodwin). 4. History of art markets (N. De Marchi, H. van Miegroet) 5. History of music markets (F.M. Scherer).



III. Production and consumption of the arts.

6. Defining cultural goods (R. McCain). 7. Empirical studies of demand for the arts (B. Seaman). 8. Nonprofit firms in the performing arts (A. Brooks). 9. Technology and the income gap (TBA) 10. The economics of museums (B. Frey, S. Meier). 11. Creativity and the behaviour of artists (T. Bryant, D. Throsby). 12. Human capital theory and artistic careers (R. Towse). 13. Artists' labour markets (P.-M. Menger). 14. Empirical studies on labour markets in the arts (N. Alper, G. Wassall). 15. The economics of superstars: theories and their application (M. Adler).



IV. Arts Markets: Economic and Legal Issues.

16. Art auctions (O. Ashenfelter, K. Graddy). 17. Prices and returns for art (V. Ginsburgh, J. Mei, M. Moses). 18. The law and economics of art (W. Landes). 19. Censorship and free speech: First Amendment issues in the arts (R. Posner). 20. Economics of copies (F. Benhamou, V. Ginsburgh).



V. Cultural Industries.

21. Industrial organisation in arts industries (R. Caves). 22. Culture in international trade (K. Acheson, C. Maule). 23. Media and the press (S. Anderson, J. Gabszewicz). 24. Movies (A. de Vany). 25. Books (E. van Damme, J. van Ours).



VI. Culture and the Economy.

26. Value and the evaluation of value in culture (M. Hutter, M. Shell). 27. Culture and economic development (P. Streeten). 28. Culture and economic performance in industrialised countries (M. Casson). 29. Cultural heritage (TBA) 30. Cultural districts (W. Santagata). 31. Culture in urban and regional development (T. Bille, G. Schulze).



VII. Policy Issues.

32. State intervention in arts support (A. Peacock, D. Hume). 33. Cultural policy: a European view (R. van der Ploeg). 34. Cultural policy: an American view (D. Netzer). 35. Tax incentives in arts support (A. Feld, M. O'Hare, M. Schuster). 36. Philanthropy (S. Katz). 37. Light(or rock) music (A.B. Krueger). 38. Arts and the internet (P. Legros).


Hardcover: 1400 pages

Publisher: North Holland (November 13, 2006)