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Purpose – The purposes of this editorial are first, to review the background to, and development of, the Special Issue call for papers issued in March 2013 on the topic of “Brands in the Arts and Culture Sector”, second, to introduce the eight papers in the double issue (seven in the Special Issue plus one paper (by Caldwell)) which was submitted to the journal in the normal course and whose topic fits well with the arts and cultural branding topic, and third, to set out a framework designed to facilitate the analysis of individual arts and cultural brands, as well as the directions for future research in the area. Design/methodology/approach – The papers in this Special Issue use a variety of approaches-some qualitative (e.g. ethnography, expert interviews), others quantitative (e.g. laboratory experiment, surveys); others deal with conceptual issues for individual artists and for the arts market. Findings – Findings and insights relate to topics such as: how the “in-between spaces” (e.g. art studios) can be key building blocks of a strong artist’s brand; the importance of western ideas for the Chinese art market; how pro-activeness, innovation, and risk-taking are the three key drivers for the decision to integrate blockbusters as a sub-brand in museum brand architecture; the importance of experiential design for low-involvement museum visitors; the utility of the notion of brand attachment in explaining volunteering; the potential of visual arts branding for general branding theory; the concept of millennial cultural consumers and how to reach them; and celebrity casting in London’s West End theatres. Research limitations/implications – The authors believe that all of the papers have implications for future thinking, research, scholarship, paedagogy, and practice in the area of arts and cultural branding. Originality/value – As far as the editors are aware, this is the first ever journal Special Issue on arts and cultural branding. More specifically, the authors have taken the opportunity to present in this editorial essay the “C-Framework” of arts and cultural brands, which offers a new way of thinking about arts and cultural brands − one which can accommodate classical or so-called “mainstream” branding ideas as well as insights from cultural, media, and consumer studies, and other disciplines. This framework can be applied to individual arts and cultural brands as well as to the entire field.
Brands in the arts and
culture sector
Carsten Baumgarth
HWR Berlin, School of Economics and Law, Berlin, Germany
Daragh OReilly
Management School, University of Sheffield, Sheffield, UK
Purpose The purposes of this editorial are first, to review the background to, and development of,
the Special Issue call for papers issued in March 2013 on the topic of Brands in the Arts and Culture
Sector, second, to introduce the eight papers in the double issue (seven in the Special Issue
plus one paper (by Caldwell)) which was submitted to the journal in the normal course and whose
topic fits well with the arts and cultural branding topic, and third, to set out a framework designed
to facilitate the analysis of individual arts and cultural brands, as well as the directions for future
research in the area.
Design/methodology/approach The papers in this Special Issue use a variety of approaches-some
qualitative (e.g. ethnography, expert interviews), others quantitative (e.g. laboratory experiment,
surveys); others deal with conceptual issues for individual artists and for the arts market.
Findings Findings and insights relate to topics such as: how the in-between spaces(e.g. art studios)
can be key building blocks of a strong artists brand; the importance of western ideas for the Chinese art
market; how pro-activeness, innovation, and risk-taking are the three key drivers for the decision to
integrate blockbusters as a sub-brand in museum brand architecture; the importance of experiential
design for low-involvement museum visitors; the utility of the notion of brand attachment in explaining
volunteering; the potential of visual arts branding for general branding theory; the concept of millennial
cultural consumers and how to reach them; and celebrity casting in Londons West End theatres.
Research limitations/implications The authors believe that all of the papers have implications
for future thinking, research, scholarship, paedagogy, and practice in the area of arts and cultural
Originality/value As far as the editors are aware, this is the first ever journal Special Issue on arts
and cultural branding. More specifically, the authors have taken the opportunity to present in this
editorial essay the C-Frameworkof arts and cultural brands, which offers a new way of thinking about
arts and cultural brands one which can accommodate classical or so-called mainstreambranding
ideas as well as insights from cultural, media, and consumer studies, and other disciplines. This
framework can be applied to individual arts and cultural brands as well as to the entire field.
Keywords Culture, Brand, Arts
Paper type Viewpoint
Welcome to this double issue of Arts Marketing: An International Journal, which, in
addition to this editorial essay, contains seven papers which were accepted under the
call for papers on Brands in the Arts and Culture Sectorissued March 2013, as well as
one further paper submitted to the journal outside of the call. We believe that all eight
papers contribute strongly in one way or another to the development of ideas about
arts brands and branding practices. This editorial deals, first, with the background
of the Special Issue, second, with the contents of the eight papers, and, finally,
with some thoughts on the future strategic development of arts and culture sector
branding research.
Arts Marketing: An International
Vol. 4 No. 1/2, 2014
pp. 2-9
© Emerald Group Publishing Limited
DOI 10.1108/AM-08-2014-0028
Received 4 August 2014
Revised 4 August 2014
Accepted 4 August 2014
The current issue and full text archive of this journal is available at
Past: background of the Special Issue
The brand approach is a relatively new and neglected concept in the arts and cultural
marketing domain (e.g. OReilly, 2011). Yet strong and world famous museum
brands like MOMA or Tate, opera house brands like the Met or Teatro Alla Scala,
entertainment brands like Cirque du Soleil, or successful artists brand like Hirst, Picasso,
or Lady Gaga underline the relevance of thebrand concept for the arts and cultural sector.
On the one hand, some researchers have analysed the application of brand
management ideas and techniques in the arts and cultural sector, for example
brand orientation (e.g. Baumgarth, 2009), positioning (e.g. Pulh et al., 2008), and brand
management for cultural institutions (e.g. Wallace, 2006) or single artists (e.g. Schroeder,
2005). On the other hand, few papers have dealt with the effects of brands on visitors to
cultural institutions and events as well as on other stakeholders. For example, some papers
present special techniques in order to measure brand images of cultural institutions
(e.g. Caldwell and Coshall, 2002), discuss the concept of brand equity of single cultural
institutions (e.g. Camarero et al., 2010), adapt the brand community concept to the art
sector (e.g. Baumgarth and Kaluza, 2012; Slater and Armstrong, 2010) or analyse the
construction of brand meaning by individual persons and society (e.g. OReilly, 2005).
Present: overview of the Special Issue
In the spring 2013, the Call for Papers for the Special Issue was published on the
homepage of Arts Marketing: An International Journal. The intent was to stimulate
research on this topic because the concept of brand management could be a fruitful
approach to bridge the gap between arts and culture on one side and marketing and
management on the other side. Overall, 11 papers were submitted to this Special Issue.
In a first step, we selected nine papers for the review process. Around 20 reviewers
supported our Special Issue with their time and constructive comments. Thank you
very much for your support. On the basis of the reviews, we finally selected seven
papers (acceptance rate: 64 per cent). We would like to thank all authors for their
The seven Special Issue papers we present to you here, together with the eighth
paper (Caldwell), all reflect the variety with regard to the methodological approach as
well to the content of current research into brands in the arts and culture sector. Some
papers use a qualitative approach (e.g., ethnography, expert interviews), some papers
implement a quantitative approach (e.g., laboratory experiment, surveys). Some papers
analyse the potential of brands for cultural institutions like museums and theatres.
Other papers deal with the brand concept for single artists and for the arts market.
The first two papers examine the brand concept in the arts sector. The next three
papers discuss brand management and brand effects for cultural institutions. The last
three papers broaden the core of arts and cultural branding.
In the first paper, Sjöholm and Pasquinelli study the brand management for single
contemporary artists. Their qualitative analysis of the London arts scene identifies the
major role of the artists in comparison to the individual art pieces and the in-between
spaces(e.g. art studio) as key building blocks of a strong artists brand.
The second paper, by Preece, examines in a qualitative study the booming arts
market in China, in particular Cynical Realist and Political Pop art. The findings point
to the important influence of the world arts market, which is mainly characterized
by western-oriented values and ideology, on the Chinese arts scene. The macro-
marketing perspective of his paper highlights the ideological construction of the
Brands in the
arts and culture
market. In the current situation, the success of Chinese arts depends on the link to the
western liberal political vision.
The contribution by Rentschler, Bridson, and Evans applies classical branding
approaches (brand architecture, sub-brands) to the museum sector and analyses the
special case of blockbuster exhibitions. Their qualitative study identifies three drivers
for the decision to integrate blockbusters as a sub-brand in the brand architecture
of the museum: pro-activeness, innovation, and risk-taking. Furthermore, the paper
derives four characteristics of blockbuster sub-brands: celebrity, spectacle, inclusivity,
and authenticity.
The paper by Ober-Heilig, Bekmeier-Feuerhahn, and Sikkenga examines the concept
of brand experience in the museum sector via a survey and an experiment. The survey
underpins the high relevance of experiential motives for high-involvement as well as
for low-involvement visitors, and shows how low-involvement visitors evaluate
the fulfilment of those motives lower in comparison to high-involvement visitors.
The laboratory experiment shows that an experiential design of the museum has
a strong and positive impact on low-involvement visitors, but no strong effect on
high-involvement visitors.
The contribution by Baumgarth, compares theoretically and empirically the
classical brand constructs of brand attitude and brand attachment as antecedents of
consumer behaviour in the cultural sector. The main finding of the associated visitor
survey is that brand attachment explains intensive behaviour such as volunteering.
Next, Rodner and Kerrigan analyse the potential of visual arts branding for general
branding theory. Whereas, in the past, the transfer of branding concepts from the
commercial world to the arts world has often been highlighted, this paper discusses
the potential of the arts world for branding. This perspective is thought-provoking and
powerful, because the world of commercial brands will change from a closed to an open
system. Hence, concepts like creativity and symbolic capital from the arts world
are interesting concepts for classical branding theory.
The last paper of this Special Issue by Halliday and Astafyeva conceptualises
a potential key consumer millennial cultural consumers and offers insights into
brand communities as possible means to attract and reach them. The authors also
provide four promising research propositions for further work by academics and/or
The eighth paper in this double issue, which was submitted outside of the Special
Issue call for papers, is by Caldwell. Its focus is on star quality, and deals with
celebrity casting in Londons West End theatres, thus fitting in very well indeed with
the theme of the Special Issue. Caldwells mixed methods study, combining interviews
with theatre professionals and an audience survey, finds that theatre audiences
are more likely to be drawn to celebrities who actually have theatrical expertise.
Future: routes for further research and practice
Our own research on this topic as well as the papers of this Special Issue underpin
the high relevance and the thought-stimulating drive of the relationship between the
brand concept and the arts and cultural sector. Therefore, we expect and call for more
research on this topic. The following thoughts could guide further research projects.
Both the arts and branding can usefully be read as different systems of signification,
ways of generating meanings, or ways of seeing discourses and practices in the arts
and cultural sectors. Arts and cultural branding, arguably, works best if it is not limited
to commercial considerations, and if the meanings it speaks about remain open to
political, social, and cultural dimensions. In other words, if we proceed on the basis that
brands are not always already only about money and commerce, we are more likely to
generate useful insights.
Art and branding practices and theories are continually developing. Within the
visual and performing arts, in particular, practitioners are claiming the status of art
for an increasingly wide range of signs and behaviours, including, for example, graffiti
or body modification. A branding scholar or practitioner does well, therefore, to adopt a
flexible view of what constitutes a brand. Branding discourse, on the other hand, is also
developing, based on a strategy of linguistic innovation or colonisation worked up by
consultants, advertisers, public relations agencies as well as academics conducting
empirical and conceptual work.
The future of arts and cultural branding is closely linked with developments in
marketing and branding theory generally, particularly arts, heritage, and nonprofit
marketing theories-all of which disciplines and sub-disciplines are thriving (see, e.g.
OReilly and Kerrigan, 2010, 2013; OReilly et al., 2014) as well as ongoing changes
in the contestation and acceptance of what qualifies as artin a range of cultural
sectors from dance through poetry and theatre to music and film.
Arts and cultural branding is complex for a number of reasons. First, the arts
have a tendency to bring different sensory modes more clearly into play in the
production-consumption circuit. Seeing, hearing, touching, smelling, and tasting become,
depending on the art-form in question, very salient for analysts. Hence, concepts like
multisensory or experiential branding (e.g. Lindstrom, 2005; Hultén, 2011; Brakus et al.,
2009) could be interesting topics for future thinking. Second, the nature of the brand
referent needs careful attention. After all, an arts brand can be an artefact, an artist or
group of artists, an organisation, an event, a venue, a performance, a song, or an
exhibition. Stars and charismatic performers and leaders are a distinctive feature of the
arts and cultural landscape, which is to a great extent driven by people and starbrands
(e.g. Jones, 2011; Frank and Cook, 1995; Wallace et al., 1993). Third, art brand thinkers and
practitioners need to be knowledgeable about the artistic traditions and innovations in
their areas or genres of work. Fourth, the cultural codes which shape the production
of, consumption of, and engagement with, arts need to be understood clearly. Fifth,
technologies of production and consumption are continually changing and require
factoring into any theory of arts branding. Sixth, it would be regrettable if arts brand
management were conceived as being the prerogative of a managerial figure only, if it
were left to the suits. Artists, performers, specialists in production, as well as curators,
art historians, gallery owners, and so on, are all playing a role in arts and cultural brand
development, so we need to conceive somehow of arts brands being in shared ownership,
as a kind of artistic commons (morally, if not financially), or at least something in which
many stakeholders have different stakes or interests (see OReilly and Kerrigan, 2013).
Brands in the arts and cultural sector are often based on networks and their contributions
to the brand. Seventh, as Rodner and Thomson (2013) have shown, arts brands can be
seen as developing within complex value generation systems or chains which require
careful analysis. Finally, at the macro level, art can be a contextual influence on a wide
range of political, social, and cultural trends as well as being itself embedded within them.
Arts and cultural branding theory and practice will proceed further if it
remains open to theoretical and methodological pluralism, as well as a strong sense of
multi- and interdisciplinarity. Insights from sociology, psychology, anthropology,
politics, economics, and cultural and media studies should all be welcome. A broad
Brands in the
arts and culture
range of methods, including experiments, ethnography, questionnaire surveys, qualitative
interviews, netnographies, oral histories, case studies, videography, discourse studies and
so on, can help to generate a range of useful data and insights. A mixed-method approach
(e.g. Teddlie and Tashakkori, 2009; Creswell and Plano Clark, 2007) could be a powerful
framework to gain a better and deeper understanding of the complex phenomenon
of arts and cultural branding. In addition to that, arts and cultural branding is a very
young research stream with only a small collection of empirical-based findings. Hence,
future research should try to identify robust and generalisable results via replications
and meta-analysis (e.g. Hunter and Schmidt, 2014; Evanchitzky et al., 2007). Views from
positivist, interpretivist, critical, mainstream, and independent campscan all be helpful
for arts branding scholarship, pedagogy, and practice.
Building upon and extending the useful summary by Heding et al. (2009) we suggest
that there are 13 main approaches to arts and cultural branding which can help to
inform both the academic research agenda as well as branding practice. We have
contrived, in line with a long-standing tradition in marketing, and in order to facilitate
their recall, to have them all begin with the same letter, in this case the letter C,
and to compile them in a framework which we call the C-Framework of Arts and
Cultural Branding. The usual caveat about dividing seamless reality into potentially
overlapping categories applies (Table I).
View Explanation
Context The historical situatedness in time and space of the relevant brand, politically,
socially, culturally, materially, and economically (see Preece, 2014). This
category also takes account of the fact that art that is produced in one cultural
context may be consumed in many different international contexts, where
varying levels of engagement with the arts will apply
Cultural offering The nature of the brand offering, the productin a wide sense. For example,
is it a project, a performance, a person, a programme, a place, a legal right, or
many of these things in a specific configuration?
Code The particular artistic codes which inform the production and consumption of
the art-form concerned, e.g. jazz, ballet, punk, sculpture, film. This can include
issues relating to the artistscalling and craft, and their related education
Capital The economic or business aspects of the brand. Where does the investment
come from? How is the capital raised? What are the profits and losses, and
how are they arranged amongst the stakeholders? What are the pricing
arrangements? Important here are the notions of art brand value, and the
related value chain, system or value-generating apparatus which applies in
each specific case. However, this grouping of ideas also includes, by analogy,
the political, social, cultural, and sub-cultural capital (value) which can be
acquired around the regulation, production, intermediation, and consumption
of the art brand in question
Configuration The relationship in which the brand stands to other brands within the same
broad creative and cultural offering. For example, in a film or blockbuster
exhibition (see Rentschler et al., 2014), the brands relationship to other brands
in the configuration needs to be teased out. Within this area, issues to do with
brand portfolios, families, categories, architectures, and extensions can
usefully be considered, as well as the important topic of cultural (brand)
(continued )
Table I.
The C-framework of
arts and cultural
We suggest that a holistic understanding of any arts and cultural brand (whether
theoretical, managerial, or consultancy-based) requires an analysis of all of these 13
aspects, and that this framework offers a strategic view of the wide range of
development vectors along which arts and cultural branding research can proceed
in the future, ideally on the basis of theoretical and methodological pluralism and
rigorous scientific research. We call for international and intercultural research
projects, comparisons between branding approaches in different countries, and studies
View Explanation
Content The ideas contained withinthe brand and how it is positioned both within
the marketplace as well as in wider society. The word contentis not meant
literally, as if in the sense of a bucket or container; brand managers
in the arts need to be sensitive to subtler theories about message production,
reader response, interpretation, and sense making by all brand
stakeholders. Contentmust be related to brand identity (on the producer
side) and brand image (on the consumer side) see elsewhere in this
Contact This area relates to brand touchpoints, i.e. occasions, spaces and places where
the art brand comes into material, sensory, or imaginal contact with the
producer or consumer. It can also cover issues such as artistic engagement,
and deal with mainstream branding issues such as brand relationship and
Character This area includes issues to do with what is traditionally known as brand
identity, reputation, or brand personality, as well as artistic mission, vision,
philosophy, and values. Like all of these areas, it can relate to any brand
referent, be it an organisation, a celebrity, an event, an artist, or even a
fictional character
Company The supply-side organisation of individuals who organise the production
of the art brand. This could include a charitable trust, an artistic collective, or
the crew, and can include both marketers and business executives as well as
artists and intermediaries. It also includes internal or organisational branding
issues to do with production or organisational cultures
Consumption This area includes generic ideas from consumer studies such as decision
making, rituals, involvement, identity, needs, motivation, perception, attitude,
preference, behaviour, and so on, but also notions from other theoretical
frames such as fandom, audiences, and consumption cultures, as well as
branding concepts such as brand image, consumer-based brand equity, and
brand loyalty
Community Collective aspects of consumption, primarily, but also attempts to
frame the production-consumption nexus as, e.g., a brand communityor
Collaboration Arts and cultural sector is not only the receiverof general branding theory.
The collaboration of arts and commercial brands on a metaphorical and on a
concrete level could broaden the research field. For example, this area can
include, at the level of concrete practice, issues such as sponsorship, celebrity
endorsement, product placement co-branding, and brand alliances in fact
any project or arrangement which involves collaboration between a
commercial and an arts/cultural brand
Creativity Arts and cultural offerings are connected with creativity, surprises,
antagonism, and destruction of standards. In contrast, mainstream
commercial brands are characterized more by consistency, continuity,
reliability, and trust. Hence, the research topic arts and cultural branding
needs to consider the conflict between the rulesof branding and their
application to the arts Table I
Brands in the
arts and culture
of the effects of arts and cultural brands on different consumer groups. We believe
that whilst the arts and cultural sector can learn from commercial brand management,
the commercial sector can also learn from the arts and cultural world, and that
collaboration between arts and commercial brands (e.g. Baumgarth et al., 2014;
Hagtvedt and Patrick, 2008; Kottasz et al., 2008; Heusser and Imesch, 2006) can be
fruitful and worthy of investigation. Finally, there is rich scope for the further use of
arts and cultural ideas as metaphors for organisational and business management
(e.g. Austin and Devin, 2003; Taylor and Ladkin, 2009; Dennis and Macaulay,
2003, 2008).
This issue contains seven papers on arts and culture sector branding specific to the
Special Issue call for papers, plus one further paper (Caldwell). We hope very much
that readers will find the entire double issue to be a useful and enjoyable collection of
insights. Finally, we would like to express our sincere thanks and appreciation once
again to our hard-working reviewers, to Gretchen Larsen, the journals Editor-in-Chief,
for her constructive and effective help with the editorial and production issues, as well
as to the publishing team at Emerald for their ongoing support for scholarly research
in the important area of art/market relationships.
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Corresponding author
Dr Daragh OReilly can be contacted at:
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Brands in the
arts and culture
... A recent special issue of Arts Marketing: An International Journal suggests that authenticity also is an increasingly important marketing concept in the arts and culture sector (see Baumgarth et al., 2014). Record companies tend to use the label of authenticity for the purposes of commercial gain (Wilson, 2011). ...
... Having said that, his study still has some relevance for the present as screening a film at a prestigious festival may increase the experienced authenticity among a specific jargon where that festival is part of collective imagination. Finally, as noted by Baumgarth et al. (2014), brands in the arts and cultural sector are often based on networks and their contributions to the brand. It could thus be said that artists, performers, costume designers, as well as curators, art critics, gallery owners, etc., all play a role in arts and cultural brand development as well as the social life of authentication. ...
Full-text available
Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.
... (Närvänen and Goulding, 2016;Keller, 2012b) it also Promotes the holding of significant cultural and art events in the territory, the implementation of large infrastructure and investment projects, as potential investors also focus on a strong brand. (Bogomazov, 2017;Baumgarth and O'Reilly, 2014).) Development of a cultural brand for the territory must be carried out in conjunction with the brand development of important cultural sites areas and implementation strategies for the formation of the art market. ...
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Background of Research: In a global economy, where individual regions, cities and countries cannot demonstrate their uniqueness and attractiveness, the presence of a developed art market on their territory can contribute to the growth of their competitiveness. A well-developed art market is highly profitable itself and it has a strong impact on the intangible companies, cities and countries involved in deals, tradesmen or organizers and hosting global art events. As a result, the global attractiveness of economic entities, their products and services increases significantly. Purpose of the article: In this article, the problem of finding effective measures of state regulation of the market. and prerequisites for regional economic growth. Methods: The paper presents a comparative analysis of measures of state regulation of works of art, applied in different countries, used econometric methods and methods of matrix hierarchical analysis. Findings & Value added: With the help of econometric dependencies, the indirect influence of the high activity of the country’s art market and its turnover on the growth of the country’s GDP through both direct financial influence and additional qualitative dependencies is substantiated. Regularities of the influence of a developed art market on the brand of the territory and the region to which it belongs are obtained, which allows us to propose a mechanism for the formation of a positive image of the city, region and country in the global economy, as well as the development of the attributes of its cultural brand.
... The method of evaluating the brand of a Museum or gallery can be built on the basis of matrix algorithms that allow for a joint analysis of the qualitative and quantitative characteristics of the Museum and take into account the contribution of exhibitions and events held by the Museum to its brand [15][16][17]. It is important to assess the value of the Museum's brand for all its potential consumer audiences and stakeholders, as well as to assess the Museum's expenditures on brand strengthening and implementation of exhibitions and events, including those aimed at brand development. ...
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Research background: In the context of the coronavirus pandemic, when cultural objects were unable to function normally for a long time, their income has significantly decreased, and state support is not enough to implement strategic projects. This is due to a sharp decline in the incomes of the population of these countries and a prolonged shutdown of large- scale production, even the stagnation of entire sectors of the economy. Purpose of the article: The article is devoted to the problem of the formation of strong brands of cultural institutions, in particular, art museums and galleries and their impact on the competitiveness of the region. Methods: We use statistical, and regression methods for analysis, which are used to assess the mutual influence of traffic flows to museums and other cultural objects on the total income in the art market. Findings & Value added: The analysis showed that work on the image, strengthening the brands of cultural institutions, increasing the level of recognition in the world and close ties with recognized art-dominants in the future will allow cultural institutions to attract significant financial flows and improve their competitive position in the world market. As the scientific increment can be considered, the results of analysis the relationship between the strong brands of art museums and other cultural objects and the tourist attractiveness of their locations, as well as the mutual influence of cultural object brands on the territory’s brand. It is proposed to modify the methodology for evaluating the brand value in an art Museum or gallery.
In the arts, brand has often been seen as a 'dirty word.' This paper critically analyzes the shaky relationship between artists and an arts council by examining a unique data set of annual reports from the Australia Council for the Arts, over a period of thirty-one years (1982-2013). This longitudinal study charts how and why brand legitimacy in the arts council was lost through the use of institutional, legitimacy and branding theories. With a focus on brand images, text, and media coverage, we demonstrate the souring of relations with artists over three decades. The data reveal three phases of brand development: artist-centric to artistic rebellion to corporatization, at which time the arts council lost artists' support of the brand. The shift over three phases illustrates changes in types of legitimacy that dominate. The changes are from cognitive and moral legitimacy to pragmatic legitimacy. This change is synonymous with changes in the global art field to McDonaldization. An arts council circulates brands in an artistic and corporate milieu, seeking to achieve legitimacy with actors in both fields. The use of a one-sided branding strategy provokes opposition from artists as it occurs at their expense, creating winners and losers in legitimacy terms.
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Brand resonance is a marketing concept under‐explored in the performing arts context. This paper responds by analyzing focus group findings from a large Opera group, “Big Opera” on how decision‐makers can enhance brand resonance. Opera patronage was dwindling before the COVID‐19 pandemic, which was further crystallized during the pandemic. As the performing arts sector tries to revive, it is useful to understand how brand resonance concepts can be used to reinvigorate patronage at the opera. A qualitative study of four opera focus groups, which included 24 participants with varying levels of attendance was conducted to examine brand resonance. The study reveals that when customers have brand attachment and love, developed through intense experiences at the opera, facilitated by engagement with the brand, and community, then brand loyalty develops for the opera by intention to re‐purchase. The paper contributes to the literature by making recommendations on how to enhance brand resonance thereby increasing attendance. Intense experiences at the opera and engagement can be enhanced by offering packaged deals, such as accommodation and dinner, or drinks and canapés packages, backstage access, the development of a social club, social media brand community and loyalty programs to increase brand loyalty.
Purpose The purpose of this paper is to test and refine the long-established signal transmission model of the communication process by examining the ways in which a newly formed nonprofit arts foundation communicated its professed values to its stakeholders. Design/methodology/approach The study uses a mixed method case study approach. Interviews with key informants and observations of the foundation’s webpages enabled the identification of the professed values of the arts foundation. Next, a questionnaire survey established whether these values had been successfully decoded by stakeholders and identified the channels via which the values-related signals had been received. Findings The transmission model was found to be relevant as a model. However, to improve its fit within a nonprofit arts context, a modification to the model is suggested which highlights the importance of multi-sensory channels, the importance of context and the increasingly important role of the stakeholder. Research limitations/implications This study is a small-scale case study, although its mixed methods help to ensure validity. Practical implications The findings will help nonprofit arts organisations to decide how to best communicate their values to their stakeholders. Social implications The improved communications model will contribute to the enabling of organisations to uphold and transmit their values and thus improve society’s overall quality of life. Originality/value Literature which provides in-depth examination of the communication of values within a nonprofit arts context via a range of channels, including traditional, online and multi-sensory, is sparse. The opportunity to study a newly formed nonprofit arts organisation is also rare. The results of this study provide valuable evidence that even in today’s social media-rich world, people, sounds, sights and material objects in physical space still have a vital role to play in the communication of values.
Purpose The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts. Design/methodology/approach Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field. Findings It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive. Practical implications The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation. Social implications The paper provides new knowledge of the variety of levels of relations in the value co-creation. Originality/value The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.
Consumer behavior recently underwent three main developments: a shift from material purchases to immaterial experiences, a shift from signaling status and wealth by means of consumer behavior to signaling identity, and increased social visibility due to the growing importance of social media. These trends did arouse a renewed interest in the concept of conspicuous consumption in the area of experiential purchases. Seven different types of experiential purchases are compared as regards the role of conspicuous consumption: the main summer holiday and participation in six different types of cultural events. In the culture study, the same measurement tools were used as in the leisure study. It was found that conspicuous consumption plays a role in these types of purchases. This holds true for status demonstration as well as for identity demonstration. However, there are substantial differences between the different types of cultural events. Conspicuous consumption is important to those who attend festivals, classical music concerts, and pop concerts and is of minor importance as regards going to movies. Based on these findings, we propose a tentative theory about the relationship between conspicuous consumption and type of experiential purchase. Practical implications for marketing are sketched out. In cultural marketing for museums, the performing arts, and cinema, attention should be paid not only to the quality of the event for the self-experience, but also to its status and identity-signaling potential to relevant others.
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Purpose Communicating the national values of artists, and the role of product benefits as symbols of national values, infuse iconic national brands. We validate a conceptual framework that offers empirical insights for cultural identity that drives brand management. Design/methodology/approach Case studies and cross-cultural focus group research establish our conceptual framework for cultural branding. Findings Brand awareness of a perfume named after a Cuban dancer, and a spirit named for a Chilean poet, reflects authentic emblems of national identity. Informants' behavior confirms our model of icon myth transfer effect as a heuristic for cultural branding with clear, detailed, and unprompted references to the myths and brands behind these heroines. Research limitations/implications Our ethnography shows how artists reflect myth and folklore in iconic brands. Future research should assess whether the icon myth transfer effect as a heuristic for cultural branding occurs with cultural icons beyond the arts and transcends national boundaries. Practical implications We challenge conventional branding where the brand is the myth, and the myth reflects the myth market. We show how the myth connects to a national identity yet exists independently of the brand. The branding strategy ties the brand to the existing myth; an alternative route for cultural branding mediated by the icon myth transfer effect. Originality/value Most research explores iconic myths, brands, and folklore in one country. We extend cultural branding through social history and testing a conceptual model that establishes how myths embody nation-specific values. Iconic myths are a heuristic for understanding and describing brands, revealing an unexamined path for cultural branding.
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With the rising use of arts-based methods in organizational development and change, scholars have started to inquire into how and why these methods work. We identify four processes that are particular to the way in which arts-based methods contribute to the development of individual organization managers and leaders: through the transference of artistic skills, through projective techniques, through the evocation of "essence," and through creating artifacts such as masks, collages, or sculpture, a process we call "making." We illustrate these processes in detail with two case examples and then discuss the implications for designing the use of arts-based methods for managerial and leadership development.
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Purpose – This paper aims to deconstruct the validation process for contemporary art with a fresh take on the components and terminology of this process, here referred to as the art machine. Design/methodology/approach – Existing literature is analysed and key theoretical aspects combined to support the theory that an art machine exists that may process contemporary art for legitimation, sustainability and market success. Findings – Roles played by art professionals and institutions within what is pioneered in this paper as the art machine frequently overlap. Opportunities for success are maximised when and if artists, art schools, galleries, critics, auction houses, museums and collectors manage to work in unison towards the common goal of optimal symbolic and financial value for the contemporary art market. Research limitations/implications – A clear and intelligible deconstruction of the art machine's interacting components should enable interested agents in both established and emerging art markets to better operate mechanisms towards short‐term marketing objectives and long‐term sustainability within the highly competitive and fluid art environment. Originality/value – Existing literature recognises layered spheres of activity that may combine for success in an art market seeking increasing symbolic and financial value and sustainability. This article innovatively pictures the dynamic, interlocking mechanisms in this on‐going, one‐way process of turning inconspicuous raw materials into a valued end‐product: this is the art machine.
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Purpose: The purpose of this paper is to present the multi-sensory brand-experience concept in relation to the human mind and senses. It also seeks to propose a sensory marketing (SM) model of the multi-sensory brand-experience hypothesis. Design/methodology/approach: This paper applies exploratory and explanatory approaches to investigating the multi-sensory brand-experience concept within the context of discovery. The qualitative study is built on primary and secondary data sources, including personal interviews with experts and managers. Findings: The multi-sensory brand-experience hypothesis suggests that firms should apply sensorial strategies and three explanatory levels within an SM model. It allows firms through means as sensors, sensations, and sensory expressions to differentiate and position a brand in the human mind as image. Research limitations/implications: A theoretical implication is that the multi-sensory brand-experience hypothesis emphasizes the significance of the human mind and senses in value-generating processes. Another theoretical implication is that the hypothesis illustrates the shortcomings of the transaction and relationship marketing models in considering the multi-sensory brand-experience concept. It is worth conducting additional research on the multi-sensory interplay between the human senses in value-generating processes. Practical implications: The findings offer additional insights to managers on the multi-sensory brand-experience concept. This research opens up opportunities for managers to identify emotional/psychological linkages in differentiating, distinguishing and positioning a brand as an image in the human mind. Originality/value: The main contribution of this research lies in developing the multi-sensory brand-experience hypothesis within a SM model. It fills a major gap in the marketing literature and research in stressing the need to rethink conventional marketing models.
Brand experience is conceptualized as sensations, feelings, cognitions, and behavioral responses evoked by brand-related stimuli that are part of a brand's design and identity, packaging, communications, and environments. The authors distinguish several experience dimensions and construct a brand experience scale that includes four dimensions: sensory, affective, intellectual, and behavioral. In six studies, the authors show that the scale is reliable, valid, and distinct from other brand measures, including brand evaluations, brand involvement, brand attachment, customer delight, and brand personality. Moreover, brand experience affects consumer satisfaction and loyalty directly and indirectly through brand personality associations.
Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system. Practical implications – A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market. Originality/value – While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.
Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
For over two decades, it has been argued that the brand is an important value creator and should therefore be a top management priority. However, the definition of what a brand is remains elusive. This comprehensive textbook presents the reader with an exhaustive analysis of the scientific and paradigmatic approaches to the nature of brand as it has developed over the last twenty years. Taking a multi-disciplinary approach and offering an exhaustive analysis of brand research literature, it delivers a thorough understanding of the managerial implications of these different approaches to the management of the brand. Brand Mangement: Research, Theory and Practice fills a gap in the market, providing an understanding of how the nature of brand and the idea of the consumer differ in these approaches and offers in-depth insight into the opening question of almost every brand management course: "What is a brand?". © 2009 Tilde Heding, Charlotte F. Knudtzen and Mogens Bjerre. All rights reserved.