This study delineates the process of brand longevity: the achievement of social salience and ongo... more This study delineates the process of brand longevity: the achievement of social salience and ongoing consumer engagement over a sustained period. Our study contributes to branding theory by proposing a multilevel approach to understanding brand longevity through application of an assemblage perspective to answer the question: how do serial brands attain longevity within evolving sociocultural contexts? By applying assemblage theory, we scrutinize the enduring success of a serial media brand over the past 55 years. To address this question, a wide range of archival brand-related data were collected and analyzed, including: analysis of films, books, marketing materials, press commentaries, and reviews, as well as broader contextual data regarding the sociocultural contexts within which the brand assemblage has developed. Our findings empirically support the study of brand longevity in and of itself, and conceptualize brand longevity as relying on an evolutionary approach to assembling the brand, which looks outward from the brand in order to consider the potential of brand elements to prevail in contemporary contexts and to ensure both continuity and change.
This paper extends the macromarketing debates on gender by considering how gender ideology acts a... more This paper extends the macromarketing debates on gender by considering how gender ideology acts as a macro-level constraint to developing sustainable initiatives. While the macromarketing literature has long considered the significance of social enterprise and nonprofits, gender has not been theorized within these studies. In redressing this gap we examine the case of the Uniform Project, spearheaded by disaffected advertising executive and enthusiastic social entrepreneur, Sheena Matheiken. Our critical interrogation of the project shows that Matheiken’s path to becoming entrepreneurial “woman of the year” reinforces a gendered model of social entrepreneurship. We also expose the role of media and the forums designed to encourage social innovations in gendering, thus stifling, a social enterprise. We reaffirm the importance of theorizing gender ideology in macromarketing and submit that any such theorization must recognize and account for the ways that gender intersects with neolib...
The majority of research on religious consumption assumes stable, singular and exclusive preferen... more The majority of research on religious consumption assumes stable, singular and exclusive preferences, an individual is an adherent to one religion at a time and conversion is a radical break in identity. In examining a context where individuals can simultaneously practice multiple religions despite seemingly theologically incompatible beliefs, we introduce the concept of religious transit, allowing for a more processual understanding of religious identity. To do so, we draw on theories of religious capital, foregrounding the flexibility of this resource in enabling multifarious religious consumption. This is made possible by the religious leaders themselves; in highlighting shared rituals and discourses, they downplay any cognitive incongruences to allow for easy, market-mediated accessibility. By conceptualising four types of religious consumption we theorise the dynamics of consumer mobility.
Purpose This paper aims to contribute to the literature on value creation by examining value with... more Purpose This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation. Design/methodology/approach The authors develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework. Findings The findings illustrate how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships as value is dispersed, situational and in-flux. Research limitations/implications The authors problematise the view that value emerges as a result of operant resources “producing effects” through working on operand resources. Rather, adopting the socio-cultural approach, the authors demonstrate how value emerges and is co-constructed, negotiated and circulated. The authors establish the need to rec...
Politics and art have throughout history, intersected in diverse and complex ways. Ideologies and... more Politics and art have throughout history, intersected in diverse and complex ways. Ideologies and political systems have used the arts to create a certain image and, depending on the form of government this has varied from clear-cut state propaganda, to patronage, to more indirect arms-length funding procedures. Therefore, artists working within the macro-level socio-political context cannot help but be influenced, inspired and sometimes restricted by these policies and political influences. This article examines the contemporary art markets of two emerging, Socialist economies to investigate the relationship between state politics and the contemporary visual arts market. We argue that the respective governments and art worlds are trying to construct a brand narrative for their nations, but that these discourses are often at cross-purposes. In doing so, we illustrate that it is impossible to separate a consideration of the artwork from the macro-level context in which it is produced...
In the case of visual artists, the product they create is inextricably linked to their identities... more In the case of visual artists, the product they create is inextricably linked to their identities, personalities and career histories in terms of how the art is produced, presented, consumed and positioned and valued in the market. Although artists' branding initiatives are considered relevant to branding and marketing theory, identifying how these are constructed and managed, and identity negotiated through this process is an area that needs further development. This research therefore uses a multi-stakeholder approach to branding theory to examine contemporary artists' careers in order to understand how value is added to their 'product.' Qualitative analysis of artists' biographies and career histories in the London art market illustrates how value is co-constructed through relationships in a temporal manner that must be strategically managed. Summary Statement of Contribution The findings highlight the need to consider the macro-level context in the creation of value. Value is found to be collectively negotiated by a variety of stakeholders with different priorities and dependent on a multi-stakeholder brand narrative. The need for marketing not just of the product but also of the artist themself becomes apparent and the tension personbranding creates is explored. This is of wider interest to those researching other figurehead brands where organisational leaders are associated with the overall organisational brand and product range, in addition to contexts where brands do not rest within one organisation but their value is created through the interaction of a range of key stakeholders who collectively develop and manage the brand.
Studies on affect and affective atmospheres have been a topic of increasing interest in marketing... more Studies on affect and affective atmospheres have been a topic of increasing interest in marketing, particularly in the management of consumption and retail spaces where service providers attempt to orchestrate a prescribed, collective affective response in consumers. This paper draws on the work of Sara Ahmed and Margaret Wetherell to bring the subject back to the fore, providing a more fine-grained theorisation of how individuals land in such atmospheres. We articulate surfacing and sticking as key dimensions of landing, highlighting the heterogeneity of our landing, whereby affect is individually felt through bodily reactions due to how our personal affective history intersects with the socio-political context. Using a poetic affective attunement method, we capture intensely affective atmospheres, namely spirit-permeated religious settings in Brazil; demonstrating how landing results in different orientations or disorientations through which often elided emotional experiences come into view, privileging some subjects and objects whilst disadvantaging others.
Phantasmagorical contexts, wherein the ineffable and the quasi-mystical emerge through encounters... more Phantasmagorical contexts, wherein the ineffable and the quasi-mystical emerge through encounters with the material, the mediated, the sensual and the affectual, have received considerable attention in tourism research, bringing into view absent presences. However, their fluid, evanescent, transcendental, and often uncomfortable atmospheres make them an easy target for exoticism. Reflexivity has been widely highlighted as a way to avoid exoticising, colonial approaches to knowledge production. Despite the recent focus on reflexivity and calls for deeper reflexivity, there has been little attention on how reflexivity can be achieved. This paper draws on the Kyoto School and their philosophy of 'nothingness' to develop different epistemic groundings for more messy, embodied and situated tourism research. A selfless epistemology is illustrated through a process of learning, unlearning and re-emerging to see with 'doubleeyes.'
Virtual Reality has been heralded variously as the next steppingstone
in technological innovation... more Virtual Reality has been heralded variously as the next steppingstone in technological innovation, a utopian ‘empathy-machine’ and a dystopian addictive technology. Using critical discourse analysis, we explore the types of narratives underlying this global attention and the ideological values, beliefs and interests therein. We contribute to the critical marketing literature by demonstrating how an examination of sociotechnical imaginaries reveals the ways in which the market mediates the reception of new technologies and the kinds of worlds these technologies bring about. Through an interactive ‘choose your own adventure’ narrative, we bring these imaginaries into relief and invite readers to navigate alternative potential futures for VR. The data underpinning the narrative highlight the role of marketers and marketing in shaping our social, political and economic reality.
Borrowing from computing via media art, we introduce the concept
of ‘glitch’ pedagogy to insert u... more Borrowing from computing via media art, we introduce the concept of ‘glitch’ pedagogy to insert unexpected tension into the marketing curriculum, offering learners a glimpse into the underlying ideological structures of neoliberal higher education and opening up spaces of resistance and affirmation. We draw on neoliberal, marketised educational discourses and the bureaucratic systems they engender to illustrate glitches within the employability agenda, providing students conceptual space to leverage the contradictions and inequalities implicit in this agenda. As a genre of post-critical pedagogy, we argue that glitch pedagogy can move us beyond some of the noted dualisms of critical pedagogy to recognise the complexity of students’ emotional investments, in particular socio-cultural and political positions by way of affective relations.
In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai W... more In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting the lens of object-oriented ontology, we reveal the hidden agency of artworks as objects. We find that artworks are charismatic objects that are alive to infinite possibilities and interpretations. As this meaning changes over time, we argue that any attempt at measuring or pinpointing cultural value is bound to fail. Instead, we suggest a need for further consideration of how art can operate as a hypo-object, presenting us with new perspectives on the world.
Purpose -The purpose of this paper is threefold. First, it reviews the background to, and develop... more Purpose -The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of "Visual arts marketing in East Asia"; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach -The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing.
This paper extends the macromarketing debates on gender by considering how gender ideology acts a... more This paper extends the macromarketing debates on gender by considering how gender ideology acts as a macro-level constraint to developing sustainable initiatives. While the macromarketing literature has long considered the significance of social enterprise and nonprofits, gender has not been theorized within these studies. In redressing this gap we examine the case of the Uniform Project, spearheaded by disaffected advertising executive and enthusiastic social entrepreneur, Sheena Matheiken. Our critical interrogation of the project shows that Matheiken's path to becoming entrepreneurial "woman of the year" reinforces a gendered model of social entrepreneurship. We also expose the role of media and the forums designed to encourage social innovations in gendering, thus stifling, a social enterprise. We reaffirm the importance of theorizing gender ideology in macromarketing and submit that any such theorization must recognize and account for the ways that gender intersects with neoliberal ideology to permeate markets, marketing and social enterprise.
Consumer transits and religious identities: towards a syncretic consumer, 2019
The majority of research on religious consumption assumes stable,
singular and exclusive preferen... more The majority of research on religious consumption assumes stable, singular and exclusive preferences, an individual is an adherent to one religion at a time and conversion is a radical break in identity. In examining a context where individuals can simultaneously practice multiple religions despite seemingly theologically incompatible beliefs, we introduce the concept of religious transit, allowing for a more processual understanding of religious identity. To do so, we draw on theories of religious capital, foregrounding the flexibility of this resource in enabling multifarious religious consumption. This is made possible by the religious leaders themselves; in highlighting shared rituals and discourses, they downplay any cognitive incongruences to allow for easy, market-mediated accessibility. By conceptualising four types of religious consumption, we theorise the dynamics of consumer mobility.
Purpose: This paper contributes to the literature on value creation by examining value within the... more Purpose: This paper contributes to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation. Design/methodology/approach: We develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework. Findings: Findings show how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships, as value is dispersed, situational and in-flux. Research limitations/implications: We problematise the view that value emerges as a result of operant resources ‘producing effects’ through working on operand resources. Rather, adopting the socio-cultural approach we demonstrate how value emerges, is co-constructed, negotiated and circulated. We establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is therefore dispersed. Moreover, power dynamics at play mean that ‘consumers’ are not homogenous; some are more important than others in the valuation process. Practical implications: This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation which can be used in strategic decision making. Originality/Value: We illustrate that value co-creation must be understood in relation to understanding patterns of hierarchy which influence this process. Key words: arts market, artists, value, co-creation, service dominant logic Article Classification: Conceptual paper.
This study delineates the process of brand longevity: the achievement of social salience and ongo... more This study delineates the process of brand longevity: the achievement of social salience and ongoing consumer engagement over a sustained period. Our study contributes to branding theory by proposing a multilevel approach to understanding brand longevity through application of an assemblage perspective to answer the question: how do serial brands attain longevity within evolving sociocultural contexts? By applying assemblage theory, we scrutinize the enduring success of a serial media brand over the past 55 years. To address this question, a wide range of archival brand-related data were collected and analyzed, including: analysis of films, books, marketing materials, press commentaries, and reviews, as well as broader contextual data regarding the sociocultural contexts within which the brand assemblage has developed. Our findings empirically support the study of brand longevity in and of itself, and conceptualize brand longevity as relying on an evolutionary approach to assembling the brand, which looks outward from the brand in order to consider the potential of brand elements to prevail in contemporary contexts and to ensure both continuity and change.
This paper extends the macromarketing debates on gender by considering how gender ideology acts a... more This paper extends the macromarketing debates on gender by considering how gender ideology acts as a macro-level constraint to developing sustainable initiatives. While the macromarketing literature has long considered the significance of social enterprise and nonprofits, gender has not been theorized within these studies. In redressing this gap we examine the case of the Uniform Project, spearheaded by disaffected advertising executive and enthusiastic social entrepreneur, Sheena Matheiken. Our critical interrogation of the project shows that Matheiken’s path to becoming entrepreneurial “woman of the year” reinforces a gendered model of social entrepreneurship. We also expose the role of media and the forums designed to encourage social innovations in gendering, thus stifling, a social enterprise. We reaffirm the importance of theorizing gender ideology in macromarketing and submit that any such theorization must recognize and account for the ways that gender intersects with neolib...
The majority of research on religious consumption assumes stable, singular and exclusive preferen... more The majority of research on religious consumption assumes stable, singular and exclusive preferences, an individual is an adherent to one religion at a time and conversion is a radical break in identity. In examining a context where individuals can simultaneously practice multiple religions despite seemingly theologically incompatible beliefs, we introduce the concept of religious transit, allowing for a more processual understanding of religious identity. To do so, we draw on theories of religious capital, foregrounding the flexibility of this resource in enabling multifarious religious consumption. This is made possible by the religious leaders themselves; in highlighting shared rituals and discourses, they downplay any cognitive incongruences to allow for easy, market-mediated accessibility. By conceptualising four types of religious consumption we theorise the dynamics of consumer mobility.
Purpose This paper aims to contribute to the literature on value creation by examining value with... more Purpose This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation. Design/methodology/approach The authors develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework. Findings The findings illustrate how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships as value is dispersed, situational and in-flux. Research limitations/implications The authors problematise the view that value emerges as a result of operant resources “producing effects” through working on operand resources. Rather, adopting the socio-cultural approach, the authors demonstrate how value emerges and is co-constructed, negotiated and circulated. The authors establish the need to rec...
Politics and art have throughout history, intersected in diverse and complex ways. Ideologies and... more Politics and art have throughout history, intersected in diverse and complex ways. Ideologies and political systems have used the arts to create a certain image and, depending on the form of government this has varied from clear-cut state propaganda, to patronage, to more indirect arms-length funding procedures. Therefore, artists working within the macro-level socio-political context cannot help but be influenced, inspired and sometimes restricted by these policies and political influences. This article examines the contemporary art markets of two emerging, Socialist economies to investigate the relationship between state politics and the contemporary visual arts market. We argue that the respective governments and art worlds are trying to construct a brand narrative for their nations, but that these discourses are often at cross-purposes. In doing so, we illustrate that it is impossible to separate a consideration of the artwork from the macro-level context in which it is produced...
In the case of visual artists, the product they create is inextricably linked to their identities... more In the case of visual artists, the product they create is inextricably linked to their identities, personalities and career histories in terms of how the art is produced, presented, consumed and positioned and valued in the market. Although artists' branding initiatives are considered relevant to branding and marketing theory, identifying how these are constructed and managed, and identity negotiated through this process is an area that needs further development. This research therefore uses a multi-stakeholder approach to branding theory to examine contemporary artists' careers in order to understand how value is added to their 'product.' Qualitative analysis of artists' biographies and career histories in the London art market illustrates how value is co-constructed through relationships in a temporal manner that must be strategically managed. Summary Statement of Contribution The findings highlight the need to consider the macro-level context in the creation of value. Value is found to be collectively negotiated by a variety of stakeholders with different priorities and dependent on a multi-stakeholder brand narrative. The need for marketing not just of the product but also of the artist themself becomes apparent and the tension personbranding creates is explored. This is of wider interest to those researching other figurehead brands where organisational leaders are associated with the overall organisational brand and product range, in addition to contexts where brands do not rest within one organisation but their value is created through the interaction of a range of key stakeholders who collectively develop and manage the brand.
Studies on affect and affective atmospheres have been a topic of increasing interest in marketing... more Studies on affect and affective atmospheres have been a topic of increasing interest in marketing, particularly in the management of consumption and retail spaces where service providers attempt to orchestrate a prescribed, collective affective response in consumers. This paper draws on the work of Sara Ahmed and Margaret Wetherell to bring the subject back to the fore, providing a more fine-grained theorisation of how individuals land in such atmospheres. We articulate surfacing and sticking as key dimensions of landing, highlighting the heterogeneity of our landing, whereby affect is individually felt through bodily reactions due to how our personal affective history intersects with the socio-political context. Using a poetic affective attunement method, we capture intensely affective atmospheres, namely spirit-permeated religious settings in Brazil; demonstrating how landing results in different orientations or disorientations through which often elided emotional experiences come into view, privileging some subjects and objects whilst disadvantaging others.
Phantasmagorical contexts, wherein the ineffable and the quasi-mystical emerge through encounters... more Phantasmagorical contexts, wherein the ineffable and the quasi-mystical emerge through encounters with the material, the mediated, the sensual and the affectual, have received considerable attention in tourism research, bringing into view absent presences. However, their fluid, evanescent, transcendental, and often uncomfortable atmospheres make them an easy target for exoticism. Reflexivity has been widely highlighted as a way to avoid exoticising, colonial approaches to knowledge production. Despite the recent focus on reflexivity and calls for deeper reflexivity, there has been little attention on how reflexivity can be achieved. This paper draws on the Kyoto School and their philosophy of 'nothingness' to develop different epistemic groundings for more messy, embodied and situated tourism research. A selfless epistemology is illustrated through a process of learning, unlearning and re-emerging to see with 'doubleeyes.'
Virtual Reality has been heralded variously as the next steppingstone
in technological innovation... more Virtual Reality has been heralded variously as the next steppingstone in technological innovation, a utopian ‘empathy-machine’ and a dystopian addictive technology. Using critical discourse analysis, we explore the types of narratives underlying this global attention and the ideological values, beliefs and interests therein. We contribute to the critical marketing literature by demonstrating how an examination of sociotechnical imaginaries reveals the ways in which the market mediates the reception of new technologies and the kinds of worlds these technologies bring about. Through an interactive ‘choose your own adventure’ narrative, we bring these imaginaries into relief and invite readers to navigate alternative potential futures for VR. The data underpinning the narrative highlight the role of marketers and marketing in shaping our social, political and economic reality.
Borrowing from computing via media art, we introduce the concept
of ‘glitch’ pedagogy to insert u... more Borrowing from computing via media art, we introduce the concept of ‘glitch’ pedagogy to insert unexpected tension into the marketing curriculum, offering learners a glimpse into the underlying ideological structures of neoliberal higher education and opening up spaces of resistance and affirmation. We draw on neoliberal, marketised educational discourses and the bureaucratic systems they engender to illustrate glitches within the employability agenda, providing students conceptual space to leverage the contradictions and inequalities implicit in this agenda. As a genre of post-critical pedagogy, we argue that glitch pedagogy can move us beyond some of the noted dualisms of critical pedagogy to recognise the complexity of students’ emotional investments, in particular socio-cultural and political positions by way of affective relations.
In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai W... more In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting the lens of object-oriented ontology, we reveal the hidden agency of artworks as objects. We find that artworks are charismatic objects that are alive to infinite possibilities and interpretations. As this meaning changes over time, we argue that any attempt at measuring or pinpointing cultural value is bound to fail. Instead, we suggest a need for further consideration of how art can operate as a hypo-object, presenting us with new perspectives on the world.
Purpose -The purpose of this paper is threefold. First, it reviews the background to, and develop... more Purpose -The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of "Visual arts marketing in East Asia"; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach -The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing.
This paper extends the macromarketing debates on gender by considering how gender ideology acts a... more This paper extends the macromarketing debates on gender by considering how gender ideology acts as a macro-level constraint to developing sustainable initiatives. While the macromarketing literature has long considered the significance of social enterprise and nonprofits, gender has not been theorized within these studies. In redressing this gap we examine the case of the Uniform Project, spearheaded by disaffected advertising executive and enthusiastic social entrepreneur, Sheena Matheiken. Our critical interrogation of the project shows that Matheiken's path to becoming entrepreneurial "woman of the year" reinforces a gendered model of social entrepreneurship. We also expose the role of media and the forums designed to encourage social innovations in gendering, thus stifling, a social enterprise. We reaffirm the importance of theorizing gender ideology in macromarketing and submit that any such theorization must recognize and account for the ways that gender intersects with neoliberal ideology to permeate markets, marketing and social enterprise.
Consumer transits and religious identities: towards a syncretic consumer, 2019
The majority of research on religious consumption assumes stable,
singular and exclusive preferen... more The majority of research on religious consumption assumes stable, singular and exclusive preferences, an individual is an adherent to one religion at a time and conversion is a radical break in identity. In examining a context where individuals can simultaneously practice multiple religions despite seemingly theologically incompatible beliefs, we introduce the concept of religious transit, allowing for a more processual understanding of religious identity. To do so, we draw on theories of religious capital, foregrounding the flexibility of this resource in enabling multifarious religious consumption. This is made possible by the religious leaders themselves; in highlighting shared rituals and discourses, they downplay any cognitive incongruences to allow for easy, market-mediated accessibility. By conceptualising four types of religious consumption, we theorise the dynamics of consumer mobility.
Purpose: This paper contributes to the literature on value creation by examining value within the... more Purpose: This paper contributes to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation. Design/methodology/approach: We develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework. Findings: Findings show how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships, as value is dispersed, situational and in-flux. Research limitations/implications: We problematise the view that value emerges as a result of operant resources ‘producing effects’ through working on operand resources. Rather, adopting the socio-cultural approach we demonstrate how value emerges, is co-constructed, negotiated and circulated. We establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is therefore dispersed. Moreover, power dynamics at play mean that ‘consumers’ are not homogenous; some are more important than others in the valuation process. Practical implications: This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation which can be used in strategic decision making. Originality/Value: We illustrate that value co-creation must be understood in relation to understanding patterns of hierarchy which influence this process. Key words: arts market, artists, value, co-creation, service dominant logic Article Classification: Conceptual paper.
In the contemporary visual art market, for art to be valuable, it must be deemed authentic. In th... more In the contemporary visual art market, for art to be valuable, it must be deemed authentic. In this chapter, we deconstruct the space within which the authentication of art takes place to understand the structural underpinnings of value and its ideological foundations. Through a three-part model, we demonstrate how authenticity in the art market, as a socially constructed concept, relies on the interpretation of cultural brokers who demonstrate recognition of the artist's vision in the work by placing it within an art context and thus legitimising it as culturally valuable. In our spatial analysis, we illustrate the complexity of visual art products and their valuation, demonstrating how authenticity operates through multiple dimensions. Ultimately, we demonstrate that authenticity is an autopoietic market practice which serves to further monopolise power.
In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai W... more In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting the lens of object-oriented ontology, we reveal the hidden agency of artworks as objects. We find that artworks are charismatic objects that are alive to infinite possibilities and interpretations. As this meaning changes over time, we argue that any attempt at measuring or pinpointing cultural value is bound to fail. Instead, we suggest a need for further consideration of how art can operate as a hypo-object, presenting us with new perspectives on the world.
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Papers by Chloe Preece
in technological innovation, a utopian ‘empathy-machine’
and a dystopian addictive technology. Using critical discourse analysis,
we explore the types of narratives underlying this global
attention and the ideological values, beliefs and interests therein.
We contribute to the critical marketing literature by demonstrating
how an examination of sociotechnical imaginaries reveals the ways
in which the market mediates the reception of new technologies
and the kinds of worlds these technologies bring about. Through an
interactive ‘choose your own adventure’ narrative, we bring these
imaginaries into relief and invite readers to navigate alternative
potential futures for VR. The data underpinning the narrative highlight
the role of marketers and marketing in shaping our social,
political and economic reality.
of ‘glitch’ pedagogy to insert unexpected tension into the marketing
curriculum, offering learners a glimpse into the underlying
ideological structures of neoliberal higher education and opening
up spaces of resistance and affirmation. We draw on neoliberal,
marketised educational discourses and the bureaucratic systems
they engender to illustrate glitches within the employability
agenda, providing students conceptual space to leverage the contradictions
and inequalities implicit in this agenda. As a genre of
post-critical pedagogy, we argue that glitch pedagogy can move us
beyond some of the noted dualisms of critical pedagogy to recognise
the complexity of students’ emotional investments, in particular
socio-cultural and political positions by way of affective
relations.
singular and exclusive preferences, an individual is an adherent to
one religion at a time and conversion is a radical break in identity. In
examining a context where individuals can simultaneously practice
multiple religions despite seemingly theologically incompatible
beliefs, we introduce the concept of religious transit, allowing for
a more processual understanding of religious identity. To do so, we
draw on theories of religious capital, foregrounding the flexibility of
this resource in enabling multifarious religious consumption. This is
made possible by the religious leaders themselves; in highlighting
shared rituals and discourses, they downplay any cognitive incongruences
to allow for easy, market-mediated accessibility. By conceptualising
four types of religious consumption, we theorise the
dynamics of consumer mobility.
Design/methodology/approach: We develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework.
Findings: Findings show how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships, as value is dispersed, situational and in-flux.
Research limitations/implications: We problematise the view that value emerges as a result of operant resources ‘producing effects’ through working on operand resources. Rather, adopting the socio-cultural approach we demonstrate how value emerges, is co-constructed, negotiated and circulated. We establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is therefore dispersed. Moreover, power dynamics at play mean that ‘consumers’ are not homogenous; some are more important than others in the valuation process.
Practical implications: This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation which can be used in strategic decision making.
Originality/Value: We illustrate that value co-creation must be understood in relation to understanding patterns of hierarchy which influence this process.
Key words: arts market, artists, value, co-creation, service dominant logic
Article Classification: Conceptual paper.
in technological innovation, a utopian ‘empathy-machine’
and a dystopian addictive technology. Using critical discourse analysis,
we explore the types of narratives underlying this global
attention and the ideological values, beliefs and interests therein.
We contribute to the critical marketing literature by demonstrating
how an examination of sociotechnical imaginaries reveals the ways
in which the market mediates the reception of new technologies
and the kinds of worlds these technologies bring about. Through an
interactive ‘choose your own adventure’ narrative, we bring these
imaginaries into relief and invite readers to navigate alternative
potential futures for VR. The data underpinning the narrative highlight
the role of marketers and marketing in shaping our social,
political and economic reality.
of ‘glitch’ pedagogy to insert unexpected tension into the marketing
curriculum, offering learners a glimpse into the underlying
ideological structures of neoliberal higher education and opening
up spaces of resistance and affirmation. We draw on neoliberal,
marketised educational discourses and the bureaucratic systems
they engender to illustrate glitches within the employability
agenda, providing students conceptual space to leverage the contradictions
and inequalities implicit in this agenda. As a genre of
post-critical pedagogy, we argue that glitch pedagogy can move us
beyond some of the noted dualisms of critical pedagogy to recognise
the complexity of students’ emotional investments, in particular
socio-cultural and political positions by way of affective
relations.
singular and exclusive preferences, an individual is an adherent to
one religion at a time and conversion is a radical break in identity. In
examining a context where individuals can simultaneously practice
multiple religions despite seemingly theologically incompatible
beliefs, we introduce the concept of religious transit, allowing for
a more processual understanding of religious identity. To do so, we
draw on theories of religious capital, foregrounding the flexibility of
this resource in enabling multifarious religious consumption. This is
made possible by the religious leaders themselves; in highlighting
shared rituals and discourses, they downplay any cognitive incongruences
to allow for easy, market-mediated accessibility. By conceptualising
four types of religious consumption, we theorise the
dynamics of consumer mobility.
Design/methodology/approach: We develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework.
Findings: Findings show how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships, as value is dispersed, situational and in-flux.
Research limitations/implications: We problematise the view that value emerges as a result of operant resources ‘producing effects’ through working on operand resources. Rather, adopting the socio-cultural approach we demonstrate how value emerges, is co-constructed, negotiated and circulated. We establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is therefore dispersed. Moreover, power dynamics at play mean that ‘consumers’ are not homogenous; some are more important than others in the valuation process.
Practical implications: This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation which can be used in strategic decision making.
Originality/Value: We illustrate that value co-creation must be understood in relation to understanding patterns of hierarchy which influence this process.
Key words: arts market, artists, value, co-creation, service dominant logic
Article Classification: Conceptual paper.