An introduction to Arts Management



Next up in my posts about Creative Managements are notes (written in my own words) that I made on the introductory chapter to 'Arts Management' by Derrick Chong, which seemsw to be a key text for those who want to study in this area. You can purchase the book on Amazon here. The issues addressed in this introduction mainly revolve around the challenges facing arts administrators in the wake of increasing commercialisation. I hope these extremely simplified notes will help you out in your studies!

In 1945 the Arts Council of Great Britiain was founded, whose primary purpose was to

  • Initiate arts management courses
  • Encourage collaboration between business and arts sector
The USA has been particularly proactive in promoting and exploring this partnership between the arts and business.

Haacke critiques the instruction of traditional managerial techniques to arts administrators in training. He believes that art should not be treated like other commercial products and deserves specialised treatment. He proposes that treating art as a 'regular' commodity risks to devalue it, and leads to a loss of artistic integrity within the industry.

Italy is an interesting case study in the arena of Arts Management because it is host to the largest open air heritage sites in Europe. Italy capitalises on this by promoting the arts as both a tourist attraction and encouraging religious tourism by adherents of the catholic religion to sites of religious, artistic and architectural importance.

Art is no longer controlled by only state or non-profit actors as the industry moves towards an increasingly privately-funded, commercialised model.

Politi believes that the art market is the best way to determine the quality and therefore value of art as it marries and groups the activities of the realms of art criticism, media coverage, collectors, galleries and museums, all of which form comprehensively the 'arts system.'

The dichotomy of high and low art forms follow on from the administrative frameworks of:
  • for-profit commercial pop culture industry
  • private and not-for-profit/government industry
In post-modernity, spectators of art are increasingly treated like the consumers of any other commercial product.

According to Hoving, efficient & successful arts managers must:
  • Be learned academically in artistic theory and history
  • Have a strong aesthetic sensibility
  • Efficient fundraisers
  • Effective publicists
  • Be diplomats

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