By Mark W. Rectanus
Photographer Annie Leibowitz collaborates with American convey on a portrait exhibition. Absolut Vodka engages artists for his or her ads. Philip Morris mounts an "Arts opposed to starvation" crusade in partnership with in demand museums. Is it paintings or PR, and the place is the road that separates the inventive from the company? in response to Mark Rectanus, that line has blurred. those mergers of paintings, enterprise, and museums, he argues, are examples of the global privatization of cultural investment. In tradition included, Rectanus demands complete disclosure of company involvement in cultural occasions and examines how companies, paintings associations, and foundations are reshaping the cultural terrain. In flip, he additionally exhibits how that floor is destabilized via artists subverting those similar associations to create a heightened understanding of serious possible choices. Rectanus exposes the way in which sponsorship is helping hold social legitimation in a time while firms are the objective of vital feedback. He offers wide-ranging examples of artists and associations grappling with company sponsorship, together with artists' collaboration with sponsors, company sponsorship of museum exhibitions, gala's, and rock live shows, and cybersponsoring. all through, Rectanus's analyzes the convergence of cultural associations with international company politics and how this shapes our tradition and our groups. Mark W. Rectanus is professor of German at Iowa nation college.
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Extra resources for Culture Incorporated: Museums, Artists, and Corporate Sponsorships
What’s the difference? Simply that philanthropy was sometimes giving money away. Lifestyle marketing, of course, gives money too. But it goes beyond that. It shares values. It’s an overt demonstration and statement that a company not only gives cash but shares certain attitudes and beliefs with its consumers. There is also more of a synergy to lifestyle marketing than to philanthropy. (1994, 18) Expenditures for cultural programs were integrated into speciﬁc marketing and promotion objectives, based on proﬁtability and a return on investment.
Although these factors suggest that forms of alternative or marginalized culture may be rejected out of hand, subsequent chapters in this study will show that some avant-garde artists and works may be attractive precisely because they have high visibility in the media. However, few corporations select projects that overtly criticize their politics and interests. Schreiber recommends that corporate managers measure the success of sponsorships in relation to (1) the program’s effectiveness in providing more involvement with participants and audiences (“value-added” dimensions to the actual event), (2) the project’s potential to attract and engage mass media as a bridge to audiences who cannot participate in the event, and (3) the project’s potential to involve the corporation’s customers, sales force, distributors, or wholesalers (1994, 132).
New experiences and events) offered by cultural institutions and corporations (Schulze 1992, 438, 506). , sponsorships) in order to maintain and expand their institutional bases and spheres of inﬂuence, while public and nonproﬁt institutions incrementally adopt (and modify) corporate strategies in order to guarantee public recognition and ﬁnancial stability. New forms of cultural promotion and mediation, such as cultural sponsorships, have developed as a result of these converging interests. That is, both corporations and nonproﬁts seek legitimacy and audience acceptance.