Pre-Raphaelitism, science and the arts in 'The Germ'

This article demonstrates for the first time how dense the references to science are within the Pre-Raphaelite periodical 'The Germ' (1850). By reading the essays from this magazine together, as they were first published, it is possible to see how thoroughly the Pre-Raphaelites theorised their artistic project in terms of a particular mid-Victorian ideal of science. At the same time, the magazine became a forum in which the question of how far the arts ought to take account of science could be debated. In this debate, the competing visions of Pre-Raphaelitism discussed in Holman Hunt’s later accounts of the movement can be seen emerging at a very early stage in its history.

Digital technology and creative arts career patterns in the UK creative economy

The creative industries have attracted the attention of academics and policy makers for the complexity surrounding their development, supply-chains and models of production. In particular, many have recognised the difficulty in capturing the role that digital technologies play within the creative industries. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. This paper unfolds the role played by digital technologies focusing on a key aspect of its development: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we investigate the characteristics and location determinants of digital graduates. The paper deals specifically with understanding whether digital skills in the UK are equally embedded across the creative industries, or are concentrated in other sub-sectors. Furthermore, it explores the role that these graduates play in each sub-sector and their financial rewards. Findings suggest that digital technology graduates tend to concentrate in the software and gaming sub-sector of the creative industries but also are likely to be in embedded creative jobs outside of the creative industries. Although they are more likely to be in full-time employment than part-time or self-employment, they also suffer from a higher level of unemployment.

Virgil's fourth Eclogue and the visual arts

Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

Rome 1600: the city and the visual arts under Clement VIII

"Snapshot" of the city of Rome around 1600, with relation to the visual arts, especially the work of artists and architects such as Caravaggio, Annibale Carracci, Rubes, the Cavaliere d'Arpino, Federico Zuccaro, Giacomo della Porta and Carlo Maderno, as well as their patrons (Aldobrandini, Farnese, Giustinani, Mattei, Del Monte).

Geography, skills and careers patterns at the boundary of creativity & innovation: digital technology and creative arts graduates in the UK

In the last decades, research on knowledge economies has taken central stage. Within this broader research field, research on the role of digital technologies and the creative industries has become increasingly important for researchers, academics and policy makers with particular focus on their development, supply-chains and models of production. Furthermore, many have recognised that, despite the important role played by digital technologies and innovation in the development of the creative industries, these dynamics are hard to capture and quantify. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. They also seem to play a key role in innovation of access and delivery of creative content. This chapter tries to assess the role played by digital technologies focusing on a key element of their implementation and application: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we explore the characteristics and location patterns of graduates who entered the creative industries, specifically comparing graduates in the creative arts and graduates from digital technology subjects. We highlight patterns of geographical specialisation but also how different context are able to better integrate creativity and innovation in their workforce. The chapter deals specifically with understanding whether these skills are uniformly embedded across the creative sector or are concentrated in specific sub-sectors of the creative industries. Furthermore, it explores the role that these graduates play in different sub-sector of the creative economy, their economic rewards and their geographical determinants.

The entrepreneurial arts leader : cultural policy, change and reinvention

"The Entrepreneurial Arts Leader is grounded in an understanding of cultural policy, management, art history, entrepreneurship and creativity, and is cross-disciplinary. It features a comprehensive bibliography and models of entrepreneurial arts leaders, and will be of seminal importance to arts managers, administrators, cultural policy makers and students."--BOOK JACKET

Cause related marketing: can the arts afford not to participate?

Cause related marketing is a new way for for-profit organizations to increase their sales while appearing to enhance their focus on social responsibility. The key for private-sector organizations is to build partnerships with a worthy, notable cause and for them to promote that cause in a carefully structured commercial venture designed to enhance both organizations' financial viability. Over the last 2 decades the focus has shifted from the worthy cause of the arts, to issues of health and social need. The answer proposed in this paper is to broaden the definition of worthy cause to include needy non-profit arts and thus, return cause related marketing to its roots. This paper identifies the direction of rapid change in attitudes to arts marketing in just over 2 decades and indicates the possibilities of participating in cause related marketing activities as a result of this change.

Museum and performing arts marketing: the age of discovery

Trends in museum and performing arts marketing from 1975 to 1994 were analyzed and suggested that a third period was emerging; the data in this article confirm that claim. Among the latest arts marketing articles, there is a significantly greater focus on marketing strategy than on the other two categories--marketing as culture and marketing as tactics.

Ethical behaviour: the means for creating and maintaining better reputations in arts organisations

Arts organisations, unsure of the level of continued government funding available and confronted with the need ever to improve, are seeking new ideas upon which they can focus. At a time when leadership and governance in arts organisations have changed in line with cultural expectations, how is their ethical stance assessed? How does their ethical stance impact on reputation? The challenge to build a good reputation starts at the top of the organisation; however, traditionally, one type of arts organisation, art museums, has focused on the activities level. In an age of globalisation, economic restructuring and technological change, museums therefore may be seen as a contradiction. Traditionally seen as temples for the muses, today’s museums are being challenged to be ethical for society and to build their reputation. As a solution, proposes a cooperative model of cultural organisational ethics that attempts to provide a framework by which arts organisations can put in place ethical artefacts that enhance organisational reputation, rather than detract from it.

What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

The politics of exclusion: political censorship and the arts-as-industry paradigm

In Australia from 1992 to 1999 Jeff Kennett led the Liberal state government in Victoria. Under his leadership an important vision statement for the arts was produced, and ambitious redevelopments of Victoria’s major cultural institutions were undertaken. Kennett’s ‘vision’ included reforms to Arts Victoria (the state-based arts funding agency) and a radical revision of how the arts were to be subsidised. This represented a wholesale adoption of a new policy approach which saw the arts and culture as an industry which could benefit, in particular, the development of cultural tourism for the state of Victoria. This paper argues that while the arts could be seen to have benefited from the Kennett government’s largesse, some parts of the arts sector were excluded and subjected to censorship. Based on both primary and secondary sources, we argue that in this period, the work of artists which expressed a politically dissenting view was actively discouraged.

Entrepreneurship, marketing and leadership in non-profit performing arts organisations

This paper argues that the entrepreneurial leader in non-profit PAOs has received too little attention in literature pertaining to these organisations. This criticism also applies to museums. The paper explores how leaders in non-profit performing arts organisations balance the interests of the various funding sources and market opportunities to service their revenue requirements. It reviews a tension in non-profit performing arts organisations: the relationship between limited funding and the subsequent need to act entrepreneurially and innovatively among the various funding sources. Using longitudinal analysis of annual reports, the paper uncovers interplay essential to entrepreneurship. Hence, strategies and tensions are highlighted that non-profit leaders have used. Comparisons are made with non-profit art museums which previous research has shown have the same funding tensions.