The Arts in a New Millennium: Research and the Arts Sector


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Given the focus of the special issue, the present paper combines both the academic and the practitioner perspectives to highlight several issues and emerging trends that will shape the role of marketing research in the new millennium.

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Malhotra, N. Please share your general feedback. You can start or join in a discussion here. Visit emeraldpublishing. Abstract Given the focus of the special issue, the present paper combines both the academic and the practitioner perspectives to highlight several issues and emerging trends that will shape the role of marketing research in the new millennium.

Please note you might not have access to this content. But a critical mass of them proved challenging, fruitful, and even tangibly beneficial to humans within and without the company.


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The success can be chalked up to the role, as carefully defined by APG, of the artist working in nonart contexts. In other words, neither the organization at hand, nor the state, nor the APG, was the client of the Incidental Person. I mean public good as Bishop meant it, as a way of providing third-party insight to reevaluate value systems in both business and art.

An Incidental Person takes the stand of a third ideological position which is off the plane of their obvious collision-areas.

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The function is more to watch the doings and listen to the noises, and to eliminate from the output the signs of a received idea as being of the work. In doing this he represents people who would not accept their premises, time-bases, ambitions, formulations as valid, and who will occupy the scene later. But most importantly, philanthropy is an investment in the general project of neoliberalism: the premise that unrestrained private profit is good for society at large.

Artists may do these things, but, like any type of philanthropy, they are also always an ideological investment in the ethics of the free market. Many contemporary artists working with tech companies in the San Francisco Bay Area fulfill the same gratuitous roles as their s predecessors.

After acquiring the how-to website Instructables in , Autodesk launched an artist-in-residence program at its workshop on the San Francisco pier. Resident artists are brought in for a few months and given a moderate stipend and access to expensive software and machinery.

In another instance, Facebook employs what on the surface looks like a standard commissioning patronage strategy, inviting artists to create work for display on its Menlo Park campus—but the program is also framed as an artist residency, which is telling. Facebook is commissioning the experience of having the artist on campus, wearing some hip hat and chatting with the technologists as they pass by the installation-in-progress on the way to the burrito stand.

This image is important. Artists ostensibly have a special type of knowledge by dint of being artists. Preserving this assumption clearly behooves the artist—just as it behooves management consultants to preserve the idea that management is a science they have perfected over the ages. Through programs like these, artistic creativity is made indistinguishable from innovation. This reciprocally and tautologically makes sure that innovation remains an exalted process in its own right: innovation is an act of artistic creation, and is likewise therefore intrinsically good.

Artist, management consultant: meet one another. When art is placed on par with innovation, producing positive results just by being there, art is good in the same way that urban gardens are good, or Bringing Jobs to America is good, or a vegan burrito is good.

Art is another aspect of lifestyle as a corporate-cultural value, and living proof that private profit as a form of governance is working out just fine. Is this in order to give aestheticians trouble? How sixties can you get. You become a more significant artist in proportion to how ambiguous a borderline case you invent ho-hum. For instance, calling oneself a designer rather than an artist helps lift the creativity-for-its-own-sake pretense that no self-respecting critical artist wants to bother with anymore, for the reasons mentioned above.

Critical artists-in-consultance are fully aware that they are working on behalf of a client, and they own it—by flipping their corporate service work into the content of artwork for consumption in the art sector, and then flipping that critical success back into content that can be sold or reformulated for a corporate buyer, and so on. In fact, this question has been tossed back and forth for at least the last fifty years in very similar terms.

In the debate over complicity versus criticality, the Metzger and Burnham routes are less common today. The artist-in-consultance is always serving some combination of those two sectors. At previous points in history, splitting the difference in this way might have been framed as a function of class conflict. In the worst case, the artist-in-consultance occupies, to appropriate a term from David Graeber, a bullshit job.

It distracts the subject because it pays a living wage. Ostensibly critical perspectives are typically exactly what the company is paying for.

Artist Careers Research presented by the Australia Council for the Arts

Both types of consultant are elite outsiders with special knowledge, a knowledge that must be perpetually kept under wraps in order to stay special. Thus both types of consultant spend most of their time engaged in the act of justifying their presence, honing their critical tools but never actually using them to dismantle anything. Spending so much time honing your tools that you forget what you created them for—is this not the very definition of bureaucracy?

The artist-in-consultance serves corporate interests; this is not up for debate. Artists have found out how to likewise make consulting serve the interests of the art economy, and their own personal interests.

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I would propose bringing this third client back into the Venn diagram when evaluating the work of artists-in-consultance. That circle is very different today than it was in the Seventies, but it still exists—all it really needs to exist is an artist working in it. That is, all the humans and nonhumans at risk of extinction. Preserving the integrity of all three circles as separate entities is important because it allows the existence of cases when private interest and other interests simply do not align.

The goal of the artist-in-consultance should not be to force the interests of business, art, and the planet to overlap, but to preserve their misalignment at all costs. Elvia Wilk is a writer and editor based in Berlin. She also writes fiction and poetry. In she was one of the founding editors of uncube and stayed on as editor-at-large from March until April Click to start a discussion of the article above.

Norton, Far from becoming obsolete or collapsing, management consultancy is diversifying and buying itself up.


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  • For example, longstanding management firms McKinsey and the like are supplementing their services by hiring entire creative groups as their own in-house consultants. Interview with Thomas Ulrik Madsen, May 16, Until the mids APG worked primarily with private companies but eventually shifted towards working with governmental organizations, reportedly because long-term contracts with corporations were hard to obtain. It is notable that APG was initially formed as a charity and only later incorporated into a limited company and eventually a multinational corporation.

    The shift to Ltd. Surely the business community with its enormous intellectual, financial, and other resources can develop alternatives in the area of social problem-solving. Thanks to Carson Salter for unearthing this. Subscription pending. Your email subscription is almost complete.

    An email has been sent to the email address you entered. In this email is a confirmation link. Please click on this link to confirm your subscription. Journal Disrupt Faster The idea that there is a rational, scientific basis to management advice can be traced to Fredrick Winslow Taylor, the turn-of-the-century mechanical engineer who was first to clock laborers on the job and devise strategies to make them move faster.

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    One of the many diagrams in the book The Management Myth features a Sisyphean character pushing the management diagram. Photo: Chris Hamblin. Former Microsoft CTO Nathan Myhrvold's cookbook, titled Modernist Cuisine , features dramatic photography with the recipes deconstructed by ingredients shown in stacks. Flood lamp on tripods, motion sensor, gels, and graffiti on wall. John Chamberlain's written report on his artistic residency at Rand Corporation, claims "An artist in residency soothes the conscience of the management.

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