Finally a text book that is fun to read and interesting is not an oxymoron! A must read and reference.

The nature of arts administration and management has changed dramatically over the last decade with policy, funding and restructuring all playing major parts. Following on from the successful first edition, Arts Administration has now been updated to include arts policy under the new UK Ministry of Heritage, the workings of the national lottery and the role of ethnic minority, fringe and community arts. Ten new case studies include a variety of problems commonly encountered in arts administration, such as balancing budgets, marketing, fund raising and programming. Arts administration is presented here in an historical, social and practical context. An essential read for students, those engaged in administering the arts and for anyone concerned with the arts in contemporary society.



Following on from the successful first edition, Arts Administration has now been updated to include arts policy under the new UK Ministry of Heritage, the workings of the national lottery and the role of ethnic minority, fringe and community


# Format: Kindle Edition (Digital Format, 661 kb)

# Print Length: 208 pages

# Publisher: Taylor & Francis; 2 edition (April 16, 2007)

The Marketing Mix is a logically-designed handbook that is easily read and introduces the concept of marketing in a no-nonsense, practical manner that is supported by real-life examples.


The original English edition was published in 1995 by the Museums Association of Australia.


Paperback: 252 pages

Publisher: Five Senses (September 2002)

Interest in aesthetics and organization/management studies is of growing attractiveness at the start of the twenty-first century. This text offers a critical overview of arts management as a vital sub-discipline.

The artistic, managerial, and social obligations of arts and cultural organizations operating in contemporary urban environs are all addressed.


Topics under discussion include:

The range of sources is deliberately diverse to include the contributions of contemporary artists, prominent management theorists, and the experience of arts managers.



About the author



Derrick Chong has studied business administration and art history at universities in Canada and earned a PhD from the University of London for a comparative analysis of managerialism in art museums. His research projects tend towards management and the arts. Publication outlets include Museum Management and Curatorship, the Journal of Arts Management, Law, and Society, the International Journal of Cultural Property, Museological Review, and Studies in Cultures, Organizations and Societies.


# Paperback: 192 pages
# Publisher: Routledge; 1 edition (October 11, 2002)

Sensational marketing book for all entertainment, event and sponsorship projects supported by some of the top professionals in the industry.

Paperback: 178 pages

Publisher: Maxworks Publishing Group (February 2, 2002)

In The Creative Economy John Howkins argues that intellectual property is far more important today than "hard goods" and that creativity itself should now be viewed as a defining commercial factor. The examples quoted at the start of the book, including Amazon.com's copyrighting of its sales methodology and the British patent for the technique used to clone Dolly the sheep, illustrate the range of forms creativity can take. Throughout the rest of the book, Howkins uses a similarly wide range of examples to explain his theory that creativity will be the dominant economic form of the 21st century.


In its 230 pages The Creative Economy ranges widely in scope. Its seven chapters discuss various creative industries including art, video games, music, film and fashion. Digital technology and its central role is the subject of a separate chapter, as is the management of ideas as a profit-making enterprise. At the openings of his chapters, Howkins reports his interviews with a range of important figures from musician Bob Geldof to architect Richard Rogers and businesswoman Anita Roddick. The overall style, though, is intellectual and with little to break up the dense prose it is, despite the many real-world examples, not always an easy read. But it's worth the effort; Howkins presents a forceful argument, enough perhaps to convince readers with an eye for business to get his or her thinking cap on. --Sandra Vogel


Paperback: 288 pages

Penguin Global, June 2002

Authored by a well-known figure in the field.
* Overview chapters explore topics such as electronic marketing strategies, funding, budgeting, promotion, and advertising.
* Individual chapters address the differences involved in marketing different types of events.
* Examines future trends and key issues such as how to reach new event attendees.
* Includes appendices with sample forms, contracts, and more.

Photographer Annie Leibowitz collaborates with American Express on a portrait exhibition. Absolut Vodka engages artists for their advertisements. Philip Morris mounts an "Arts Against Hunger" campaign in partnership with prominent museums. Is it art or PR, and where is the line that separates the artistic from the corporate? According to Mark Rectanus, that line has blurred. These mergers of art, business, and museums, he argues, are examples of the worldwide privatization of cultural funding.



In Culture Incorporated, Rectanus calls for full disclosure of corporate involvement in cultural events and examines how corporations, art institutions, and foundations are reshaping the cultural terrain. In turn, he also shows how that ground is destabilized by artists subverting these same institutions to create a heightened awareness of critical alternatives.



Rectanus exposes how sponsorship helps maintain social legitimation in a time when corporations are the target of significant criticism. He provides wide-ranging examples of artists and institutions grappling with corporate sponsorship, including artists' collaboration with sponsors, corporate sponsorship of museum exhibitions, festivals, and rock concerts, and cybersponsoring. Throughout, Rectanus analyzes the convergence of cultural institutions with global corporate politics and its influence on our culture and our communities.


Mark W. Rectanus is professor of German at Iowa State University.


Paperback: 298 pages

Publisher: University of Minnesota Press (1 May 2002)

Globalization expands and contracts daily, as art and artists cross and recross borders. Motorcycles, fashion houses, and vacuum cleaners find themselves exhibited in art museums, complete with their corporate identities intact. Corporate collections grow in size and influence, while Saatchi & Saatchi and Altoids Curiously Strong Mints roll off gallery-goers' tongues. "Art & Economy" gathers together essays which take a variety of stands on these multiple interrelations, as well as on artists whose work deals directly with our economic reality, such as Acces Local, Liam Gillick, Eva Grubinger, and Peter Zimmerman. It goes without saying that this book is a good deal.

Edited by Zdenek Felix & Beate Hentschel, Dirk Luckow. Essays by Konstantin Adamopoulos, Gerard A. Goodrow, Susan Hapgood, Michael Hutter, Helene Karmasin, Michael Muller, Andreas Spiegel, Wolfgang Ullrich.


Zahlreiche Künstlerinnen und Künstler setzen sich heute mit den Erscheinungen einer wirtschaftlich geprägten Umwelt auseinander. Sie greifen Bilder, Prozesse und Strategien der Wirtschaft auf, um mimetisch oder prozesshaft Phänomene und Bedingungen der Wirtschaftsrealitäten zu reflektieren. Diese ambivalenten, nie affirmativen Annäherungen spiegeln künstlerische Positionsbestimmungen in einer globalökonomisch geprägten Zeit. Wirtschaft, Design und Werbung suchen ihrerseits aktiv die Nähe zur Kunst. Unternehmen treten als kompetente Auftraggeber und Sammler auf. Kunst dient dazu, eine Unternehmensidentität zu kreieren, Mitarbeiter zu motivieren, wirtschaftliches Handeln über gesellschaftliche Verantwortung zu legitimieren.
Art & Economy versammelt Positionen, die zu diesem Wechselverhältnis Stellung nehmen. Kann Kunst eine Doppelexistenz zwischen künstlerischer und ökonomischer Identität führen? Kommt ihr mit der Bildung kreativer Synergien eine neue Rolle zu? Welchen Wert hat die Kunst für die Wirtschaft? Kann sie deren Funktionsweisen mit ihren Mitteln offen legen?

From Absolut Vodka's sponsorship of student art shows to BMW's product placement in the gallery, corporate sponsorship and business involvement in the visual arts have become increasingly common features in our cultural lives. Chin-Tao Wu's book is the first detailed analysis of this infiltration. She examines what is gained by business's accumulation of "cultural capital" and her analysis asks urgent questions of the role of museums, galleries and finally of the function of art in public spaces.

In response to increasing convergence of technologies in the entertainment industries, this thoroughly updated and revised fourth edition in also carefully reorganized and conveniently reformatted. Moreover, this new easy to read single-column format makes the volume a more accessible resource for lawyers, students, and industry professionals. The fourth edition is divided into two parts--one dealing with general principles and the other dealing with specific entertainment and related industries--and over fifty new cases have been added. The case material covers recent changes in the entertainment business--among them innovations, consolidations, copyright issues, and globalization--and each is analyzed in detail. FREE semi-annual supplements are available.


About the Authors

DONALD E. BIEDERMAN is Professor of Law and Director of the National Institute of Entertainment & Media Law at Southwestern University School of Law, Los Angeles. MARTIN E. SILFEN is an entertainement attorney and Adjunct Professor of Law at William and Mary Law School. ROBERT C. BERRY is Professor of Law at Boston College Law School. He represents and consults widely in entertainment and sports law. EDWARD P. PIERSON is Executive Vice President of Legal and Business Affairs at Warner/Chappel Music, Inc., Los Angeles, and Adjunct Professor of Law at Southwestern University School of Law. JEANNE A. GLASSER is the Vice President and General Counsel of Mona Lisa Sound, Inc. She is also an original member of iPath.com Attorney Network and Member of the New York Bar.



Hardcover: 864 pages

Praeger Publishers; 4th edition (May 30, 2001)

It used to be that developing customer relationships in a mass-market economy didn't matter. All a successful company had to do was make products that people generally liked--build it and they would come. Patricia Seybold thinks those days are long gone. Thanks to the Internet, customers matter more than ever, and companies that don't get it simply won't make it. In The Customer Revolution she writes, "For the first time in the history of modern business, it's now cost-effective for companies to establish relationships with each and every customer who wants us to know him."

Seybold outlines the principles of the "customer economy" and looks at 14 companies, including Charles Schwab, Snap-on, and Hewlett-Packard, who are in the process of refocusing their businesses to meet customer needs and expectations by measuring and running their businesses on metrics such as customer satisfaction, acquisition, retention rates, and wallet share. In the customer economy, building brand means more than creating a clever logo--it requires creating an "experience that your customers love." She offers up a set of practices--what she calls a "Customer Flight Deck"--that allows companies to monitor and tune the success of their customer contacts. Customer relationships are so important, Seybold believes that a new metric of corporate reporting will emerge alongside profit and loss, return on assets, and P/E ratios--one she calls a "Customer Value Index" designed to give investors the means to measure a company's performance by looking at the present and future value of its customer base. As with her previous book Customers.com, The Customer Revolution should be required reading for managers at any company--old or new--who are assessing the real impact of the Internet on their businesses. Highly recommended. -- Amazon.com

Book Description
This book brings together two very disparate areas, economics and culture, considering both the economic aspects of cultural activity, and the cultural context of economics and economic behavior. The author discusses how cultural goods are valued in both economic and cultural terms, and introduces the concepts of cultural capital and sustainability. The book goes on to discuss the economics of creativity in the production of cultural goods and services; culture in economic development; the cultural industries; and cultural policy. An important topic analyzed in a stimulating and nontechnical style.

Book Info
A text considering the relationship between economics and culture as both areas of discourse and as systems of social organization, based on a foundation of value theory. Also discusses the economics of creativity in the production of artistic goods and services, cultural policy, cultural industry, and culture in economic development. DLC: Economics--Sociological aspects.

The creative industries are a growing economic as well as cultural force. This book investigates their organizational dynamics and shows how companies structure their work processes to incorporate creative employees' needs for autonomy while at the same time controlling and coordinating their output. Research in television and radio broadcasting, publishing, advertising, the recorded music industry and the performing arts is used to show the variety of ways in which organizations respond to the creative imperative. The authors help to answer a larger question which has been neglected in theories of management and organizational behaviour, namely: what should replace the management principles and practices inherited from industrial society in the types of organization which predominate in post-industrial society? The arguments and evidence are made accessible to a multidisciplinary audience of students and researchers with an interest in the study of organizations as well as to managers in the creative industries.

Corporations around the globe count on Madison Avenue advertising agencies to promote their images and products. These ad agencies, in turn, make a lot of money off those corporations. Small businesses and one-person entrepreneurial operations simply cannot afford the services of large, professional ad agencies to promote their businesses. With the explosion of Internet usage, marketing on the Web is highly attractive to many businesses. Using this resourceful guide, businesses can create and execute a complete online marketing strategy (including a Web site and free software tools) for less than 500 a year. The secrets of making a Madison Avenue-style marketing splash that includes increased sales, improved customer satisfaction, and brand recognition are available to everyone-without breaking the bank.

A main justification for public funding of the arts is to protect the arts from the marketplace and to encourage experimentation and innovation. But little is known about the actual innovation process. Is funding the only issue? Protecting the arts from the marketplace has up to now been the main item in any discussion of artistic creativity. This publication provides a privileged insight which both fills out and refocuses the picture. She examines the operation of three performing arts companies from Ireland, a country whose reputation for creativity far outweighs its small size and population, and finds that innovation in the arts requires uncommon dedication, persistence and sacrifice. Fitzgibbon's book is essential reading for arts policy makers, managers, administrators, donors and potential donors, and for serious students of arts and culture management in the academic community.


Hardcover 240 pages (December 2001)

Publisher: Greenwood Press

How to sell one's art isn't taught in art schools, yet it's an essential ingredient in getting work displayed and attracting art commissions. This straightforward, inexpensive guide is written for artists who want to present themselves and their work in the best possible light to the largest possible audience. Topics include creating a winning marketing package, getting a gallery, finding an artist representative, and obtaining free or low-cost advertising. Also included is a thorough resource listing that includes inexpensive sources for slide development, contact information for artist representatives, suggestions for durable mailing packaging, and contact names for foreign news media.


Paperback: 160 pages

Publisher: A Cappella Books, U.S. (1 Sep 2000)

This book explores the organization of creative industries, including the visual and performing arts, movies, theatre, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.

Richard E. Caves is Nathaniel Ropes Research Professor of Political Economy at Harvard University.


Hardcover: 464 pages

Harvard University Press, June 2000

A guide to marketing arts events, products and organisations with case studies.
Over the past decade, increasing emphasis has been placed on management in the arts. It is no longer sufficient for arts administrators to understand the creative aspects of their field; they also need a solid grounding in management and business principles.

Innovative Arts Marketing provides an introduction to basic marketing principles and how they apply to the arts. Case studies examine a range of small and large performing, visual, literary, community and multimedia arts organisations from around Australia, including the Museum of Contemporary Art, the Melbourne Symphony Orchestra and Kooemba Jdarra, a Brisbane-based indigenous performing arts company. They show how organisations have made the shift from a product to a market focus by using innovative arts marketing practices.
Innovative Arts Marketing is essential reading for arts administration professionals and an ideal introduction for students.

'Innovative Arts Marketing presents a diverse range of examples from all major sectors of the arts which I'm sure will be a tool and a stimulus for ideas for arts organisations throughout the country.'
Margaret Seares, Chair, Australia Council


Table of Contents:

About the Author
Ruth Rentschler teaches in arts and entertainment management in the Bowater School of Management and Marketing at Deakin University, Burwood. She is editor of the Making it Happen: The Cultural and Entertainment Industries Handbook and Shaping Culture.

Tad Crawford's readable guide is filled with practical legal advice for visual artists, as well as insightful discussions of ethical issues. Immediately useful are the sample agreements and forms, explained in the context of common business practices in the art world and the environment of numerous state and federal laws. ---Alma Robinson, California Lawyers for the Arts


The challenge for any designer or artist is to learn enough about his or her rights to challenge unwarranted incursions early and call in reinforcements when necessary. This Legal Guide is the first line of defense for every designer after, of course, Allworth's stunningly focused AIGA Professional Practices in Graphic Design --- Richard Gref, American Institute of Graphic Arts