Arts Management and Society

Marketeers have the right and the duty to ask the leaders of art organization for their mission and goals, and to critically discuss these from the perspective of audience building.

The twenty-first century still shows the mission of established art organizations of classification, conservation, insulation and ritual framing of artworks.

In the twenty-first century most publics and audiences are less interested in the still dominant classification of established art organizations.

Today, arts managers from all kinds of cultural organizations are asked to make a social impact and to engage more diverse audiences.

Arts institutions have become places for events and encounters, for learning and participation and have to make sure the public enjoys being “there”.

Arts institutions will have to extend themselves through diverse networks and digital media and will be increasingly asked to commercialize these symbolical, social links.

Cultural management must change to stay.

Cultural managers are translators and “justifiers” in cultural development processes.

Cultural managers are “Masters of Interspaces”.

The instrumental nature of culture. The variety of purposes it can serve – beyond its own “inherent” aims.

Culture’s impact on the individual is key.

Culture has legitimate interests of its own.

Regarding culture, it is more practical to talk in terms of values instead of utility.

In order to realize the values of art, you have to create a good that you share with others.

Art is a shared good that you acquire not by consuming it but by contributing to it.

When we want to valorize arts, we have access to the spheres of the market, governance, the social sphere and the oikos.

The social sphere is where interactions and exchanges take place. Reciprocity is the driving force. It’s the domain of friendship.

When the government is the source of financing, cultural organizations have to consider the social logic.

Art worlds are networks of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produces art.

Art can only be produced systematically by institutionalized structures that generate predictable success.

Today, more people trespass from one taste culture into another, they become so-called “omnivores” of cultural taste.

In a conflict-ridden area, culture is not a priority.

How can art and culture and cultural institutions be enabled to address relevant issues through the medium of art? 

Trust is an important element to build up relationships, both locally and internationally.