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Audience behavior began to shift dramatically in the mid 1990s. Since then, people have become more spontaneous in purchasing tickets and increasingly prefer selecting specific programs to attend rather than buying a subscription series. Arts attenders also expect more responsive customer service than ever before. Because of these and other factors, many audience development strategies that sustained nonprofit arts organizations in the past are no longer dependable and performing arts marketers face many new challenges in their efforts to build and retain their audiences. Arts organizations must learn how to be relevant to the changing lifestyles, needs, interests, and preferences of their current and potential audiences.



Arts Marketing Insights offers managers, board members, professors, and students of arts management the ideas and information they need to market effectively and efficiently to customers today and into the future. In this book, Joanne Scheff Bernstein helps readers to understand performing arts audiences, conduct research, and provide excellent customer service. She demonstrates that arts organizations can benefit by expanding the meaning of "valuable customer" to include single-ticket buyers. She offers guidance on long-range marketing planning and helps readers understand how to leverage the Internet and e-mail as powerful marketing channels. Bernstein presents vivid case studies and examples that illustrate her strategic principles in action from organizations large and small in the United States, Great Britain, Australia, and other countries.


Hardcover: 304 pages

Publisher: Pfeiffer Wiley (3 Nov 2006)
John Wiley & Sons, 2006-12-20
 
Cultural Tourism presents a unique view of global and local cultural tourism issues in four main sections. The first part is a collection of discussions on the tensions caused by globalization, with an emphasis on the issue of authenticity. The second part focuses on cultural tourism demand, with examinations on the motivations and behavior of cultural tourists in various destinations. The third section spotlights the relationship between tourists, residents, and local culture. The final part examines ways cultural events can develop tourism.



Topics in Cultural Tourism include:
interpretation of authentic culture
growth of township tourism
the success or failure of community-based tourism projects
impact of globalization on distinctiveness of place
analysis of tourism development based on new cultural attractions & ethnic diversity
basic steps needed to establish, manage, and market cultural routes
case study of Castilla y Leon in Spain - trying to find ways to effectively compete with coastal areas
new types of cultural attractions, such as ecomuseums
religious tourism
heritage as a tool for formal and informal learning
festivalization



Publisher: Haworth Hospitality Press (October, 2006)

ISBN-13: 978-0789031174
Routledge, 2006-10-30
 
Museum Branding shows how museums can reinforce their image at every touchpoint, every encounter with their many constituencies: visitors, members, donors, sponsors, educators, community, staff, and volunteers.



In each of its 18 chapters, Museum Branding focuses on a different aspect of the museum and explains the responsibilities of each in strengthening the museums brand - Exhibitions, Carrying the Banner, Education Department, Volunteers, Membership, Fundraising, Corporate partnerships, Marketing and graphic, Museum Store, Branding museum Websites, The Golden Shopping Cart, Publications, Audio tours, The lobby, Loyalty eating, Your building, University Museums, and Future members.


Dr. Margot Wallace is a professor of marketing communication at Columbia College Chicago where she developed the Brands & Branding course. Active in the arts community, she serves in an advisory capacity for the Museum of Contemporary Art, Chicago, and the Winnetka (Illinois) Public Library.



Publisher: AltaMira Press (2006)

208 pages
AltaMira Press,U.S., 2006-09-28
 
Content:


I. Introduction.

1. Introduction and overview (V. Ginsburgh, D. Throsby). 2. On arts economics and the new economy (W. Baumol).



II. History and Method.

3. Art and culture in the history of economic thought (C. Goodwin). 4. History of art markets (N. De Marchi, H. van Miegroet) 5. History of music markets (F.M. Scherer).



III. Production and consumption of the arts.

6. Defining cultural goods (R. McCain). 7. Empirical studies of demand for the arts (B. Seaman). 8. Nonprofit firms in the performing arts (A. Brooks). 9. Technology and the income gap (TBA) 10. The economics of museums (B. Frey, S. Meier). 11. Creativity and the behaviour of artists (T. Bryant, D. Throsby). 12. Human capital theory and artistic careers (R. Towse). 13. Artists' labour markets (P.-M. Menger). 14. Empirical studies on labour markets in the arts (N. Alper, G. Wassall). 15. The economics of superstars: theories and their application (M. Adler).



IV. Arts Markets: Economic and Legal Issues.

16. Art auctions (O. Ashenfelter, K. Graddy). 17. Prices and returns for art (V. Ginsburgh, J. Mei, M. Moses). 18. The law and economics of art (W. Landes). 19. Censorship and free speech: First Amendment issues in the arts (R. Posner). 20. Economics of copies (F. Benhamou, V. Ginsburgh).



V. Cultural Industries.

21. Industrial organisation in arts industries (R. Caves). 22. Culture in international trade (K. Acheson, C. Maule). 23. Media and the press (S. Anderson, J. Gabszewicz). 24. Movies (A. de Vany). 25. Books (E. van Damme, J. van Ours).



VI. Culture and the Economy.

26. Value and the evaluation of value in culture (M. Hutter, M. Shell). 27. Culture and economic development (P. Streeten). 28. Culture and economic performance in industrialised countries (M. Casson). 29. Cultural heritage (TBA) 30. Cultural districts (W. Santagata). 31. Culture in urban and regional development (T. Bille, G. Schulze).



VII. Policy Issues.

32. State intervention in arts support (A. Peacock, D. Hume). 33. Cultural policy: a European view (R. van der Ploeg). 34. Cultural policy: an American view (D. Netzer). 35. Tax incentives in arts support (A. Feld, M. O'Hare, M. Schuster). 36. Philanthropy (S. Katz). 37. Light(or rock) music (A.B. Krueger). 38. Arts and the internet (P. Legros).


Hardcover: 1400 pages

Publisher: North Holland (November 13, 2006)
North Holland, 2006-09-13
 
Which are the key questions to be asked about cultural policy in the Europe of the twenty-first century? How is cultural policy at metropolitan, national and European level addressing recent developments that are complicating the cultural and social realities of contemporary Europe? This book offers an innovative assessment of these questions and aims to provoke debates about the way forward for cultural policy in Europe. Based on extensive theoretical and empirical research, this volume critically addresses the way in which cultural policy has evolved, and develops new conceptual and theoretical perspectives for re-imagining cultural change and complexity.


Hardcover: 328 pages

Publisher: Palgrave Macmillan (June 22, 2006)
AIAA, 2006-08-01
 
Duboffs Art Law in a Nutshell overviews art as an investment, from copyrights to trademarks, and examines issues involving museums and collecting. Subjects covered include the customs definition, international art movement, and the victim of war. Explores auctions; authentication; insurance; and tax problems for collectors, dealers, and artists. Also addresses the working artist, aid to the arts, moral and economic rights, and freedom of expression.


West Group (July, 2006)

ISBN-13: 978-0314158789
West Academic, 2006-07-31
 
A theatrical show can raise significant sums and, at the same time, create enduring community spirit. Step by step, Lets Put on a Show covers everything needed: securing rights, choosing material, finding a venue, budgeting, scheduling, working with children, using musicians, building sets, handling lights, publicizing, and much more. Anecdotes from producers, directors, and participants share the agony, the ecstasy, and the just plain fun of getting a show up and making money for a good cause while doing it.


?Gail Brown is a former elementary teacher and a veteran fundraiser. She has overseen more than one hundred productions, raising money for community and educational projects. The author of The Big Event, she lives in Case Grande, Arizona.

Colleen Schuerlein is a teacher, minister, and fundraiser. She has produced events with such celebrities as the Neville Brothers, Kenny Loggins, Dr. Wayne Dyer, and many others. She lives in Portland, Oregon.



Paperback: 191 pages

Publisher: Allworth Press (June 14, 2006)
Allworth Press,U.S., 2006-06-01
 
Les réflexions sur la création et la diversité culturelles ont longtemps été liées en France à l'attitude des pouvoirs publics : prennent-ils les initiatives nécessaires au développement des activités artistiques et à la démocratisation des consommations culturelles, et disposent-ils des instruments adaptés ? Aujourd'hui, l'importance prise par les industries culturelles à l'échelle mondiale, la puissance de détermination des majors, le numérique et internet conduisent à enrichir cette première perspective en lui associant des dimensions entrepreneuriales, industrielles et financières. Les premières Journées d'économie de la culture - dont les actes sont publiés ici - ont cherché à approfondir les réponses aux questions suivantes : peut-on encore concevoir aujourd'hui une économie de l'art qui ne soit pas immergée dans l'économie des industries culturelles ? Les entreprises culturelles sont-elles différentes des autres ? Comment les artistes se situent-ils dans un tel redéploiement ? Comment accède-t-on aujourd'hui aux consommations culturelles ? Quelles sont les régulations nécessaires pour atteindre les objectifs des politiques culturelles ?


# Broché: 463 pages

# Editeur : La Documentation Française (11 mai 2006)
La Documentation Française, 2006-05-11
 
Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible - and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book, he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small, but in Good and Plenty - and how it could result in even more and better. Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But, is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies, such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental - but decidedly not laissez-faire - system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Bringing serious attention to the neglected issue of the American way of funding the arts, "Good and Plenty" is essential reading for anyone concerned about the arts or their funding.


Tyler Cowen is the author of many books, including "Creative Destruction: How Globalization is Changing the World's Cultures" (Princeton) and "In Praise of Commercial Culture". He is Holbert C. Harris Chair of Economics at George Mason University.


Hardcover: 206 pages

Publisher: Princeton University Press (17 April 2006)
Princeton University Press, 2006-05-07
 
Rob Monaths new book on music copyright law, By the Book, will fit in your back pocket. That is a good thing because, in the digital world that music has become, you are going to need to keep it handy.


As a copyright attorney and music publisher, Monath has spent years helping clients navigate the treacherous waters of copyright law and has dealt with many professional music advisors who have made careers of hiding behind the laws inherent complexity. In response, Monath has crafted an efficient manifesto that lays out, in the simplest possible terms, a tested, three-step method for enabling musicians and music professionals to "lead a non-infringing, worry-free existence as regular users of music."



As Monath explains in the Preface, By the Book, "is not crammed with miscellaneous facts, rules, qualifiers, and exceptions." As a person who "has witnessed death by Power-Point presentation," Monath instead demonstrates a workable strategy for anticipating and avoiding common music copyright problems. "You do not need to be an expert," writes Monath, "but you do need to know how to protect yourself." The book is clearly written and entertainingly presented. The cartoons will be especially appreciated by anyone who has addressed the vexing issues that copyright law presents on a daily basis.



Music professionals who have previewed the book are expressing their gratitude. Marcia Farabee, Librarian for the National Symphony Orchestra and Past President of the Major Orchestra Librarians Association (MOLA), says: This book is informative, concise, and comprehensible! I wish I had had access to something like this many years ago when I was in training as a musician and educator.



Paperback: 77 pages

Publisher: Hinshaw Music (May 1, 2006)

ISBN-10: 0937276324

ISBN-13: 978-0937276327
Hinshaw Music, 2006-05-01
 
Need your website to showcase your artwork to galleries? Want to offer your artwork for sale on the Internet? Want your customers coming back again and again? Then this book is for YOU! Internet Entrepreneur and marketing guru Bob Nicholson shares the insider tips you need... previously available only through his workshops and consulting services. For the first time, everything you need to know about websites and Internet marketing is available in one book!



Bob Nicholson is a veteran technology industry executive who has served as VP of Engineering for Red Herring Communications, co-founder and VP of Marketing for Ratingz Inc, and VP of Technology for LunaGraphica Inc, an advertising agency specializing in the Arts & Entertainment markets. He is a certified Google Advertising Professional and Yahoo Search Marketing Ambassador, and a member of the International Webmaster's Association.



# Paperback: 100 pages
# WYGK Publishing; 1st edition (April 24, 2006)
Lulu.com, 2006-04-21
 
"Changing the Performance: A Companion Guide to Arts, Business and Civic Relations" is an inspiring manual for arts practitioners concerned with the relationship between business, the arts and wider society, and particularly those engaged in fundraising.



Julia Rowntree gives a fascinating account of her experiences forging the business sponsorship campaign at the London International Festival of Theatre (LIFT). Faced with a funding crisis in the early 1990s, LIFT responded with a radical experiment in business arts relations - the LIFT Business Arts Forum - in which young students and people from private and public sectors are invited to attend the theatre together and imagine how they might do their work differently as a result of this shared experience.


This book proposes that fundraising for the arts is much more than simply a function for generating income. It fulfills an ancient social role of connection across levels of power, expertise, culture, gender and generation. Rowntree describes why these dynamics are vital to society's ability to adapt. Raising intriguing questions about common ground between artistic, social and commercial innovation, this book offers a new model for the theory and practice of financing the arts.


Paperback: 288 pages

Publisher: Routledge, an imprint of Taylor & Francis Books Ltd (20 April 2006)
Routledge, 2006-04-20
 
This innovative approach -- blending practicality and creativity -- is now in full-color!
From translating the vision of a CEO and conducting research, through designing a sustainable identity program and building online branding tools, Designing Brand Identity helps companies create stronger brands by offering real substance. With an easy-to-follow style, step-by-step considerations, and a proven, universal five-phase process for creating and implementing effective brand identity, the book offers the tools you need, whether a brand manager, marketer, or designer, when creating or managing a brand. This edition includes a wealth of full-color examples and updated case studies for world-class brands such as BP, Unilever, Citi, Tazo Tea, and Mini Cooper.



Alina Wheeler (Philadelphia, PA) applies her strategic imagination to help build brands, create new identities, and design brand-identity programs for Fortune 100 companies, entrepreneurial ventures, foundations, and cities.


Alina Wheeler specializes in brand identity. She uses her strategic imagination to help build brands, create new identities, and design integrated brand identity programs for Fortune 100 companies, entrepreneurial ventures, cities and foundations. Wheeler works closely with founders, CEO¹s and senior management to insure that their vision and their brand identity are communicated clearly to accelerate the success of their organizations. She has been the principal of several design firms as well as a consultant to some of America¹s largest business consulting groups. She is a former national board member of AIGA and was named an AIGA Fellow in 1998.


Hardcover: 288 pages

Publisher: Wiley; 2 edition (March 10, 2006)
John Wiley & Sons, 2006-04-04
 
This book seeks to contribute to theoretical advances, analytical approaches and applied studies in the broader inter-disciplinary field of contemporary landscape transformation research.

The purpose of the book is to tie together various perspectives, insights and constructions pertaining to contemporary landscapes and landscape representations from different theoretical and methodological positions as well as from diverse geographical and historical contexts in order to elucidate and illustrate processes of cultural transformation inscribed in space. The unifying theme, as well as the main goal and prospective contribution of this book, then, lies in the exploration of these developing forces and characteristics of the new cultural economy of space in the contemporary landscape(s). The primary objective of bringing together in this book geographical perspectives from various subdisciplinary fields is to examine and discuss ways in which the complexities of this newly-emerging cultural economy of space are applied on various sorts of landscapes, i.e. urban and rural landscapes, landscapes of everyday life, landscapes of tourism and recreation, postcolonial and hybrid landscapes, landscapes of economic production, landscapes of the street and of public life, "national landscapes" and so on. The overarching question, thus, is: how do these processes work in different geographical contexts and contribute to place and landscape creation?

Our intention is to create a space for the development of landscape discourse(s) that accommodate(s) both theory and empirical findings as well as methodological issues and practical applications pertaining to the contemporary landscape(s), by examining trends, structures, technologies and practices defining and articulating this new cultural economy of space. Another goal is to identify and facilitate innovative debate and engagement between geography and other sciences researching landscape(s). It is hoped that this endeavor will generate many more questions and areas of inquiry pointing to new directions currently developing in the study of landscape(s) than the questions on the basis of which this task was undertaken here in the first place.
Springer, 2006-03-09
Fully updated and extended to examine the many changes that have occurred in the last decade, this second edition of world-renowned text Museum Basics provides a basic guide to all aspects of museum work and staff experience from museum organization, through collections management and conservation, to audience development and education.

Drawing on a wide range of practical experience, the authors have provided an excellent tool that enable museums throughout the world to conquer a common challenge; to keep up-to-date with new ideas and changing practices.

Organized on a modular basis, with over 100 units, Museum Basics is a reference to support day-to-day museum management, a key text in pre-service and in-service training programmes, and works brilliantly alongside case studies, project work and group discussion.

With a glossary, sources of information and a select bibliography, this is certainly a book that no museum professional, nor museum and heritage studies student will want to be without.

Section 1: Introductory
Section 2: The Museum and its Users
Section 3: The Development and Care of the Museums Collections
Section 4: The Museum and its Buildings
Section 5: The Museum and its Management
Section 6: Supporting Resources

Timothy Ambrose is an international museums and heritage consultant. He is an Associate Director of L&R Consulting, Europe's leading Consultancy in the heritage, cultural, leisure and tourism sectors and a Honorary Senior Research Fellow in the Department of Arts Policy and Management at City University, London. He was formerly Director of the Scottish Museums Council and Chair of ICOM UK. He has carried out a wide range of consultancy studies at national, regional and local level within the UK and Europe, published many books and articles on museum work and lectures widely on museum and heritage matters.
Routledge, 2006-03-01
More than ever before, the arts are shaping and influencing our daily lives through the media and the creative industries. The arts are no longer confined to museums and theatres, but are adding value to our national economies and improving the quality of education. This has implications for arts education. However, unlike other subjects taught at schools, the arts have rarely made their purpose clear: Why are they taught? What is good arts education? And what are the benefits of teaching creative subjects or using creative ways to teach?
 
In 2004 Professor Anne Bamford conducted the first international analysis of arts education research for UNESCO, in partnership with IFACCA and the Australia Council. Comparing data and case studies from more than 60 countries, the book analyses the differences between 'education in the arts' and 'education through the arts'. While appreciating that arts programmes are embedded in their unique social and cultural contexts, Professor Bamford develops internationally comparable standards for quality arts education. In addition, she identifies a number of concrete educational, cultural, and social benefits of arts education.
 
This definitive work is of major interest to policy-makers, educators and artists.
Waxmann, 2006-03-01
The Economics of Experiences, the Arts and Entertainment serves as a welcome and unique introduction to various economic aspects of the production and consumption of art and entertainment products. The book begins with analyses and discussion of neoclassical production and utility functions, with a focus on art and entertainment as instances of experience goods or services. The authors then go on to present alternative Austrian and institutional approaches which focus on the role of creative entrepreneurs in the market process. Aesthetic and psychological theories are also discussed with a focus on their impact on producers and consumers decisions, as well as historical examples of creative centres, such as Renaissance Florence and Post World War II New York.



About the authors:
1. Åke E. Andersson is Professor, Department of Economics, Jönköping International Business School, Jönköping, Sweden

2. David Emanuel Andersson, Associate Professor, Department of Local Development and Management, Leader University, Tainan, Taiwan



Publisher: Edward Elgar Publishing Ltd (Feb 2006)

ISBN 13: 9781845424046
Edward Elgar Publishing Ltd, 2006-02-24
 
Policy Matters critically examines the apparatus of public arts funding in Canada, focussing on institutions such as the Canada Council for the Arts, the National Gallery of Canada, and the Art Gallery of Ontario. Robertson asks, In whose name is arts policy developed? emphasizing the contribution Canadian artists, particularly those engaged in the Canada-wide network of artist-run centres, have made to arts policy in Canada.

Paperback: 288 pages

Publisher: Yyz Books (Oct 2006)
Yyz Books, 2006-01-31
 
Mission and vision statements are the most important documents of a nonprofit art organization. Yet, manynonprofits operate without understanding their principles and operational benefits. Jamie Grady definitively defines these statements and removes the mystery from them, allowing readers to fully understand their function and how mission and vision affect every decision that is made in an arts organization.



About the Author


JAMIE GRADY has held positions throughout the country in arts administration for more than fifteen years. He is currently coordinator of the theatre arts management degree program at Ithaca College, where he also teaches courses in theatre management and the business of the arts. In addition he is the cofounder of the Icarus Theatre Ensemble and the Independent Arts Consultancy group.


Paperback: 62 pages

Publisher: Heinemann (30 Mar 2006)
Heinemann Educational Books,U.S., 2006-01-27
 
Why did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the Internet, music online services and MP3-technology. A clear indication of a digital revolution in the music industry!

Hardcover, 300 pages
Kluwer Academic Publishers, January 2006
Springer, 2006-01-18