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Over the past three decades, those advocating for arts funding have shifted their arguments. When the National Endowment of the Arts (NEA) was created in 1965, its supporters praised arts and culture for their uplifting qualities, and for their ability to counterbalance trends toward materialism and militarism. By the 1990s, arts advocates were far more likely to use instrumentalist arguments, showing that investment in arts and culture produce other desirable benefits, most notably economic development advances. This article reviews the changing discourse of arts advocacy in several ways: (1) by reviewing and coding Congressional debates on arts funding from 1965–2000, (2) reviewing arts coverage in the New York Times and selected arts periodicals during this same time period. Comparing this case to others in the literature on policy redefinition, the paper argues that cultural advocates have consciously reframed their arguments to broaden their appeal in the face new and more threatening opposition. [ABSTRACT FROM AUTHOR]

We propose a simple framework for making elastic body animation with point constraints. In general, a physics-based approach for constraint animation offers a variety of animations with physically correct realism, which are achieved by solving the equations of motion. However, in the digital animation industry, solving the equations of motion is an indirect path to creating more art-directed animations that maintain a plausible realism. Our algorithms provide animators a practical way to make elastic body animation with plausible realism, while effectively using point-constraints to offer directatorial control. The animation examples illustrate that our framework creates a wide variety of point-constraint animations of elastic objects with greater directability than existing methods. Copyright © 2008 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

Discourse about the impact of art has been prominent in academic and arts industry discourse over the past two decades. Contention in the discourse has led to the call for new research frameworks that place the experience of the individual as central to understanding the impact of art. The authors present the background of this discourse and outline narrative inquiry as a research method that elicits individual experiences. The authors present the findings of a narrative inquiry and establish that the way individuals experience art and its impact is far broader in scope than previous research suggests. [ABSTRACT FROM AUTHOR]

The article discusses the emergence of creative industries in Johannesburg, South Africa, and its significance to the city's tourism and economic development. The craft sector takes part of the increasing number of new business enterprises. Moreover, the Economic Development Unit has officially recognized the role of creative industries towards the city's progress.

The article reports on labor unions and art patronage with emphasis on artist Rockwell Kent. According to the author, Kent's papers showed the American labor movement and his attempts to translate his theories related to art and others. He was a member of the International Workers of the World (IWW), and other organizations that focused on the interests of working-class people. He became involved with the strike conducted by quarrymen and marble workers against the Vermont Marble Company. He was asked to speak at a public meeting to raise money for the striking quarrymen and marble makers. He also introduced a gravestone scheme and encouraged artists and writers to join in his scheme, and contributed some of his own money and sold or raffled off numerous art works.

While primarily known as a photographer of sweeping American landscapes, Ansel Adams also served as a corporate consultant, most notably for the electronics company Polaroid. During the course of his thirty-five-year-long consultancy, Adams tested every major Polaroid film and camera. This article argues that Adams’s consultancy was a form of design work, focused as he was on the usability and functionality of Polaroid prototypes, as well as the aesthetics of the test prints he produced. Occupying the roles of designer and user, Adams found that communicating effectively with engineers and scientists was far from straightforward, as he grappled with the problem of translating his experience with the prototypes into usable feedback that could be put into practice in Polaroid’s laboratories and eventually its factories. Adams’s consultancy, which functioned as a laboratory for examining his own aesthetic practice, also illuminates broader historical transitions in the relationship between artists and corporations in postwar American society. [ABSTRACT FROM AUTHOR]

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer's perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector. [ABSTRACT FROM AUTHOR]

The article focuses on the role of the arts and artists in community development. As former steel mills morph into rock music venues or rock-climbing training courses, and shipbuilding facilities into restaurants and art studios, the notion of the creative re-cycling of the built environment has taken hold. Simultaneously, and relatedly, the idea of the creative arts as potential industries has taken hold, as urban political regimes grope for new economic generators. Most sought after are the range of media and design industries that both use existing and produce new built environments.

The article examines the "Portrait of America" Art Annual of food company Pepsi-Cola and the idea of big business as a patron of fine artists. Topics covered include the use of art to improve company images, the proposal for a juried art annual which appears to prefigure a form of corporate art sponsorship and the growth of the alliance between industry and art. Also mentioned is the identification of private corporate interest with public values and patriotism.

In this article, the author examines the connection between innovation and design. Particular focus is given to how design is increasingly gaining recognition in industry, the economy and society. Additional topics explored include how the economic value of design might be explained and measured, the role that design plays in business innovation and how the economic climate, increasingly impacted by budget cuts and scarce resources, might impact the effort to advocate for design in innovation. Various points of discussion are also offered, including an exploration of sustainable design.

This article discusses the process by which contemporary fine art sculpture and installation is fabricated on behalf of a number of internationally renowned artists, as seen from the floor of a New York studio. It is an insider account, which not only outlines the sculpture-making process but also offers a thorough examination of the day-to-day conditions in which art-workers undertake their specialised labour. Various occupational and material hazards are discussed, as well as how the latter affects areas beyond the studio walls. In an absence of critical debate pertaining to the artworlds' polluting practices, a critique is formed which queries the sustainability of large art works that seldom disclose anything as to the nature of their production. [ABSTRACT FROM PUBLISHER]

A healthy creative arts industry can contribute significantly to the economic and social fabric of a community. Unfortunately, regional areas often suffer from a lack of supply and demand for the creative arts. This article explores the demand for the creative arts in three regional locations in Victoria, Australia, using three broad dimensions of demand: attitudes towards the arts; frequency of participation in the arts and level of expenditure on the arts. The analysis of demand patterns uses the general modelling approach of Levy-Garboua and Montmarquette (1996) as a basis and makes use of the ordered probit class of models for its statistical analysis. The study confirms that individual levels of demand are contingent on a range of demographic characteristics and also identifies factors such as festival attendance and increased past creative arts expenditure as being important determinants of demand for the arts. [ABSTRACT FROM AUTHOR]

Sponsorship and cultural patronage have often been associated with a company's non-business or philanthropic plans. They have always been treated as separate practices from the core activities of any particular business and have not been analyzed from a business perspective. Although some research has tried to highlight the role of sponsorship as a marketing tool within a business marketing perspective, not as much attention has been given to the support and involvement of companies with arts and cultural activities. Nevertheless, the Italian landscape presents some interesting challenges and trends for making sense of business investment in the arts from a business perspective. Existing models do not seem to provide a meaningful explanation as to why companies are becoming more involved with arts and culture. A new conceptual framework needs to be drawn that takes into consideration the cultural economy perspective. Such a framework needs to present business investments in the arts as a meaningful socioeconomic choice within a company value-chain and must attempt to investigate its impact in terms of economic competitiveness. The author's preliminary findings suggest the value of such a framework in the specific case of Italian companies investing and collaborating with the arts, but further research is needed to consider its application to other international contexts. [ABSTRACT FROM AUTHOR]

This article describes the perceptions of poster designing as a particular kind of 'art' practice in Britain in the late nineteenth and early twentieth centuries, and assesses the impact of an emerging advertising trade on this practice. It argues that the view of poster designing as a form of applied art became difficult to sustain with the growth of a systematic advertising practice. A discourse on advertising articulated across a range of journals and books in the period different to those in which the poster and poster designing was defined began to modify the role of the artist and the form of the poster with significant effects on the practice. The autonomy and status of the poster artist was challenged, and the function of the poster re-defined in a way that heralded the emergence of a new kind of practice: commercial art. [ABSTRACT FROM AUTHOR]

Cultural production concerns the creation, diffusion, and consumption of cultural products. In this article, we discuss cultural production as related to the marketing and consumption of aesthetics. The article addresses the following topics: the nature of cultural production, including the roles that producers, cultural intermediaries and consumers play in the process; emerging perspectives and ideas on cultural production; aesthetics and art in cultural production; new epistemologies concerning postmodernism and posthumanism as related to cultural production; and the implications of the cultural production processes for the marketing aspects of cultural industries. This article sets forth marketing as the context and framework for the functioning of the cultural production system. [ABSTRACT FROM AUTHOR]

People who waffle on the question of whether or not business is an art still concede that art is, for sure, business. It has to be managed and organized to reach an audience and have an effect on it. Some artists are so good at this ‘management’ thing that business becomes envious and covets the secrets behind the ‘art firms’. This, in turn, spawns management consultants pretending to know how ‘creative industries’, ‘experience economies’, or other art‐based activities, should be run. For a little more than a year, provocative writer Witold Gombrowicz (1904–1969) and provocative artist Jean Dubuffet (1901–1985) exchanged letters articulating their similar and differing views on business, i.e., on culture. Soon, they got into a dialogue about the role of their ‘enterprises’, i.e., the role of art. The upshot of their exchange was that each seemed to run his art firm according to a somewhat similar philosophy, even consulting a management guru, a ‘super‐insultant’ 1 Antonin Artaud, for management strategies. Artaud’s Momo management style calls for passion‐driven action in opposition to a culture marked by passivity and form. [ABSTRACT FROM AUTHOR]

Readers interested in macromarketing likely surpass traditional marketers in their concern for aspects of art for art's sake as opposed to art for mart's sake. Macromarketers also likely are keen to expand their influence and to make broader contributions. In this spirit, this article examines the theme of art versus commerce via a semiotic analysis of cinemusical moments in three films from the young-man-with-a-horn genre. Specifically, in the film industry during the latter half of the past century, the stature of jazz shifted from America's commercially successful popular music (swing) to an esoteric, elitist, and even exclusionary art form (bebop and beyond). The article ends with a coda sharing thoughts on the social trap and possible societal costs manifest in conflicts between commercial and artistic interests and pressures. [ABSTRACT FROM AUTHOR]

The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury 'Green Book' framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to 'public value'. [ABSTRACT FROM AUTHOR]

Presents a case study on the pre-institutional method of arts support of Pierre Samuel du Pont. Personal background of du Pont; Reasons for or against arts support; Barriers to arts support.

The article presents a detailed discussion of the contents of the book "Trilby," by George Du Maurier. It tells of social and aesthetic revelations and the Jews' patronage of art. It states that the book is regarded as one of the most financially successful and popular novels of its day. It elaborates that the book hesitates between elitism and egalitarianism, enthusiasm and horror of the marketplace in general and the merchandising of talents in particular, and also between popularization and vulgarization.

Examines the conflict between art and science in classifying effective industrial management using the book `Consilience: The Unity of Knowledge,' by Edward O. Wilson. Role of consilience in the art-versus-science debate on management; Account on the origin of a modern science of management; Context of managers as leaders and artists.

Looks at the relationship between art and industry in the United Kingdom, focusing on the industrial revolution through World Wars I and II. Definition of the role of industry; Reference to the commissioning of artists for various purposes; How the HMSO Standard Industrial Classification model was use in defining industry.

In this article, the author discusses the cultural and creative economy of China. It mentions that massive infrastructure projects, new factories, and expanded foreign investment are some hallmarks of China's transformation over the past two decades. It informs that cultural and creative industries including art, crafts, and television programs are part of creative economy.