Arts Sponsorship Research Articles

Corporate sponsorship as cultural policy: tax incentives in Brazilian contemporary art

ABSTRACT Unprecedented corporate intervention and the withdrawal of government support from the arts and culture characterized the 1980s. Driven by the Thatcher and Reagan administrations, which promoted corporate patronage and art sponsorship, this trend shaped cultural policies worldwide and was adopted by numerous countries. Following this global movement, Brazil introduced tax incentives in the early 1990s to encourage private companies to fund cultural events and institutions. While the literature on Brazilian cultural tax incentives is extensive, researchers have overlooked the connection between these incentives and the country’s artistic production fields. Drawing on data from the past decade of cultural funding and applying Natural Language Processing and machine learning techniques to isolate sponsorship patterns related to contemporary art, this paper examines the financial landscape of Brazil’s contemporary art circuit. The findings reveal that inequalities in resource distribution for contemporary art sponsorship exceed those in other fields, such as music and theater, highlighting the highly institutionalized nature of contemporary art, its reliance on corporate sponsorship, and the substantial costs associated with its production.

Power Dynamics in the Arts Sponsorship : Activities in Bandung and Yogyakarta during COVID-19

The research objectively analyzed artists’ actions and strategic reactions in the urban areas of Bandung and Yogyakarta in Indonesia during the extremely turbulent COVID-19 pandemic from March 2020 to early 2021. The pandemic greatly impacted the lives of artists and practitioners because of stringent governmental prohibitions that prohibited public art events. The research examined practitioners’ experiences concerning their reliance or autonomy from government funding when engaging in arts-related endeavors. The research methodology was based on gathering data from social media and field investigations; a comprehensive collection of posters, photos, and relevant notes was compiled using a cultural studies framework. In addition, interviews were performed with arts practitioners and communities, specifically examining their involvement on social media platforms. A detailed investigation was conducted by carefully analyzing the interview data to clarify the differences between art practitioners in Bandung and Yogyakarta. It is found that the research distinguishes between individuals who receive government sponsorship and those who operate independently. It enhances the overall comprehension of power dynamics between arts practitioners and the government in the distinct setting of the COVID-19 epidemic, including those who operated autonomously. The research utilizes a cultural studies framework to examine the power dynamics between artists and the government in the context of the COVID-19 pandemic.

Bourdieusian capital conversion during crises of socio-political legitimacy: Sponsorship of the arts by Barclays Bank, 1972 to 1987

This paper advances our understanding of how organisations engage in the process of Bourdieusian capital conversion during crises of socio-political legitimacy. We do so by analysing the arts sponsorship strategies of Barclays between 1972 and 1987. During this period, Barclays faced numerous challenges to its organisational legitimacy as a result of its continued dealings in apartheid South Africa and its ability to generate extraordinary profits despite general economic malaise in Britain. As a response, Barclays increased its sponsorship of the arts, exchanging its substantial economic capital for the symbolic capital associated with high-status arts institutions. We identify the forces that facilitated and inhibited these capital exchanges and how they affected Barclays’ sponsorship strategies. This paper will be of interest to Bourdieusian scholars interested in capital exchange, to business historians interested in banking in Britain during the 1970s and 1980s, and researchers interested in the evolution of corporate sponsorship and philanthropy.

Producer as a key figure in the art market of postmodern culture

The purpose of the article is to analyze the activities of the producer and cultural and anthropological understanding of the producer as a key figure in the art market of the postmodern culture of the XXI century. Methodology. The conceptual methodological core of the study is a comparative analysis of production as a phenomenon of modern culture and, in particular, culturological analysis of the figure of the producer as a symbolic subject in the light of the progressive development of the third wave society. Using the method of hermeneutic interpretation, the peculiarities of the producer's activity as a key figure in the art market of postmodern culture are revealed. The scientific novelty lies in the conceptualization of the figure of the producer as a phenomenon of humanitarian knowledge of the postmodern culture. It is hypothesized that the worldview of the new synthetic worldview of the producer may be a new paradigm that replaces the third wave: altermodern. Its characteristic features are glocalization, cluster practice, transculture, etc. Conclusions. Understanding of production as a phenomenon of the art market and the figure of the producer (entrepreneur, manager) as a key figure in the creative economy showed that this model of economic relations belongs to the third wave and is a typical manifestation of symbolic exchange. The specificity of the economy of experiences is the escalation of the free market, which through universal enthusiasm tries to appropriate the sphere of artistic culture and turn art products into brands and goods. The metalanguage of the art market, built on the principles of information aesthetics, provides for diffuse mechanisms of assimilation of the world, with many hybrid forms and gradual displacement by art sponsorship, which becomes a commercial concept. This applies to both individual and national acts of creativity, which is reflected in the practices of multiculturalism. The development of symbolic exchange in the creative economy has led to the institutionalization of the institution of production as a mechanism of mediation between the artist and the public, which needs an accessible art product that can differently affect the ontological adequacy of the work.

Specifics of sponsorship as a technology of ensuring access of population to works in art marketing

The purpose of the article is to investigate the mechanisms of sponsorship in the marketing of art in the art market in order to expand the opportunities for the population to visit institutions and events in the field of culture and art, where works of fine art are displayed. It is determined that in the field of fine arts sponsorship has certain features, because the sponsor provides assistance, strengthening its image, receiving advertising and PR. In addition, the desire of sponsors to make their own demands on the content and conditions of placement and demonstration of art collections is becoming a trend. The research methodology is to apply empirical and comparative methods. This approach allows us to reveal and analyze the possibility of applying the specifics of sponsorship as a technology to ensure public access to works of art in art marketing. The scientific novelty of the article is to identify marketing mechanisms that make it possible to make sponsorship in the field of fine arts comprehensively justified, regulated, fair and legal. Conclusions. We analyzed the conditions and opportunities for sponsorship, as well as opportunities for broad sections of the population to access works of art in Ukraine and other countries. It should be noted that there is a tendency in the world to "settle" famous works of art in private collections, to which only a limited number of spectators have access. Collections of state museums remain freely available to the general public, most of whom do not now have the opportunity to purchase very expensive works of art at auctions and galleries. Sponsorship in the field of art has its own specifics, because often the sponsor often not only demonstrates his help to museums, strengthening his image, reputation, but also tries to "dictate" museums and galleries their requirements for organizing museum exhibitions, the sequence of acquisition of new works in museum collections. Marketing technologies allow to regulate the work between sponsors and cultural institutions, to make this cooperation reasonable and fair. According to the experience of the countries of the world, the most effective type of "cultural economy" depending on the mechanisms of financing culture and art can be called "Anglo-American" type, where financing is carried out by attracting private capital, including tax benefits.

Cakes and Ale, Paintings and Sculptures: Directors’ Duties and Corporate Art Collecting

Corporations spend significant amounts of money on art collecting and art sponsorship, but little research has been done on the question of whether such activities are permissible in light of directors’ duties. This article addresses that issue by examining whether corporate expenditure on art collecting and sponsorship is consistent with the duty to act in the bests interests of a corporation, the duty to exercise powers for a proper purpose and the fiduciary duty not to make improper use corporate information or position. This is done first by examining the scale of corporate expenditure on art and then by analysing the case law on various directors’ duties, before discussing whether corporate art collecting is legitimate in light of those duties. The article examines the most important reasons why a corporation may collect art – as an investment, in furtherance of corporate social responsibility goals and in order to enhance the psychological well-being of employees – and concludes that while art collecting for such purposes does not amount to a breach of directors’ duties, this is subject to the requirement that a corporation put into place safeguards contained in a formalised art collecting and sponsorship policy, the key principles of which are stated at the end of the article.

Інформаційно-документальне забезпечення залучення позабюджетних коштів закладами культури і мистецтва України

In the article, the concept of fundraising is understood as the creation at the legislative level of incentives to encourage commercial organizations to invest in culture. Thus, the practice of raising funds for cultural projects requires a thorough knowledge and understanding of the implementation in real practice of modern regulations and information system in the field of culture and art ofUkraine.The purpose of this article is to analyze the legislative and information base of investment search in the creation of artistic projects in the performing arts, as well as the possibility of applying these data in modern Ukrainian theater practice.ModernUkrainehas an extensive system of sources of funding for the cultural sphere, characterized by different types of ratio of public and private funds to the cultural sphere. The pan-European trend of reducing budget expenditures on culture and the introduction of mechanisms to attract extra-budgetary funds for cultural development has become noticeable in recent decades inUkraine.Under a market economy, the cultural sphere cannot rely solely on state funding. Analysis of trends in cultural management shows that Ukraine as a European country adheres to a strategy to support culture, which aims not only to budget funding, but primarily to create favorable conditions for attracting extrabudgetary funds, which requires perfect information and legal and regulatory support.Various forms of stimulating extra-budgetary financing of culture are widespread inUkraine. In this aspect, fundraising appears as a "mechanism for financing culture" and involves the development of links between cultural and business organizations, the development of various forms and opportunities for their mutually beneficial cooperation, as well as the formation of public opinion in support of culture, development and adoption of modern laws to support charitable activities, and the development of awareness of producers in search of investment.Investing resources in cultural projects has become one of the marketing tools of commercial organizations. The main motives that motivate business representatives to direct funds for cultural development are:- advertising opportunities (promotion of the company's brand or products) within the cultural project;- creation of a positive image of the company, demonstration of social responsibility policy;- access to the target audience as part of an art event to promote their own products / services.The introduction of fundraising mechanisms has enabled the Government of Ukraine to focus not on 100% state support for culture, but to significantly reduce budget expenditures on culture and adapt cultural organizations to work in market conditions. As a result of fundraising reforms in the country, established practices of cooperation between cultural organizations and business have been formed.The Ukrainian state, interested in increasing the share of non-state funds in the financing of art, provides objective conditions for intensifying sponsorship (favorable tax climate, various programs to encourage art sponsorship, initiated by the state); on the other hand, art organizations, which are experiencing increasingly fierce competition within the framework of state subsidies, are taking a more active position in finding non-state funding, developing creative programs of cooperation with sponsoring companies.The problems addressed by the author of the article allow us to assert the urgent need to improve modern legislation on charitable activities.

A Study on the Major Space for the Art Sponsorship of Art Museum by Accessibility

A Study on the Major Space for the Art Sponsorship of Art Museum by Accessibility

Arts Sponsorship Versus Sports Sponsorship: Which Is Better for Marketing Strategy?

ABSTRACTThis paper identifies the distinctive features of nonprofit arts sponsorship relative to profit driven sports sponsorship and shows that although arts sponsorship has been little researched, it is a potentially important means of marketing. The methodology employed was a literature review on sponsorship that attempted to distinguish arts sponsorship from sports sponsorship. Then, we present the findings from 23 in-depth interviews with arts sponsee managers, to reveal how they see themselves (as sponsees) being differentiated from sports sponsees. The literature and interview findings are brought together in a discussion that highlights the differences between arts sponsorship and sports sponsorship in terms of target audience, the relationship cost/benefit, range of emotions elicited, awareness, marketing metrics, goodwill, and learning potential. Finally, suggestions are made for future research.

Art Marketing Practice Result of Luxury Fashion Brands

This study examines the concept and type of art marketing used by luxury fashion brands as well as to elucidate the productive outcome of art marketing based on art marketing case studies. The research methods adopted in this study were a literature review and case studies. The scope of the research focused on companies operating luxury fashion brands such as Louis Vuitton S.A., Kering Group, Prada S.p.A., Hermes International S.A., Salvatore Ferragamo Group, Giorgio Armani S.p.A. and Compagnie Financiere Richemont S.A.. The results showed that luxury brands using art marketing to enhance the competitiveness of the company by combining art and marketing mainly incorporate the following types of art marketing: art foundation and museum, art sponsorship, art collaboration, advertising campaign, exhibition promotion, and flagship stores. In terms of the outcome of art marking by luxury fashion brands, it was found that art marketing facilitates company activities help companies acquire a positive image from revitalizing culture and art, produces increased profits for the companies due to increased product sales as well as expands the marketability of respective companies through company PR and brand promotion, customer satisfaction by providing cultural space, artistic places and new experiences.

A Place for Immigrants in the Ghetto: The Rise and Fall of theNaunynRitzeYouth Centre

In this work, we attempt to examine the role of strategies like arts sponsorship and culturalism in the solution of immigrant youth issues around a specific immigrant place. This is a case study that focuses on the NaunynRitze Youth Centre in Berlin-Kreuzberg, which was presented as a successful example by policy makers and the public in the 1990s when the footsteps of the crisis of multiculturalism had begun to be heard in Germany. Our research shows that the social engineering strategies shaped around a multikulti production base are not permanent or sustainable as long as these institutions are also given the responsibility of eliminating the cycle of crime and violence in addition to promote individual artistic development and subcultural entities. As long as political figures and the public opinion continue to generally see the immigrant youth as a danger to the secure and untarnished development of society, it does not appear possible for the multiculturalism and the immigrant youth work system to develop.

The Effect of Employees' Participation in Corporate Arts Sponsorship

The Effect of Employees' Participation in Corporate Arts Sponsorship

Art Sponsorship Success: An Empirical Investigation into Sponsor Recall and the Ambiguous Role of Visitors' Involvement

Art Sponsorship Success: An Empirical Investigation into Sponsor Recall and the Ambiguous Role of Visitors' Involvement

Assessing the risks and opportunities in corporate art sponsorship arrangements using Fiske’s Relational Models Theory

Purpose – The purpose of this paper is to address a particular tension in arts marketing, that is, the ongoing search for balance between achieving artistic excellence and financial stability, while keeping work accessible and satisfying a range of stakeholders, public and private. Design/methodology/approach – Using Fiske’s (1992) relational models theory as a framework to categorize different modes of exchange between a sponsor and an arts organization, this paper focusses on the varied nature of interactions between parties. Findings – Drawing on data from a longitudinal case study, the authors evaluate the many opportunities and risks associated with sponsorship arrangements and to explore how these become manifest and potentially resolved within the relational structure over time. Moreover, the authors examine how an arts marketer can employ particular relational models of exchange to mitigate the risks of another model which is operational within the sponsorship. Research limitations/implications – The aim of this paper is to consider the variety of exchange ongoing in long-term sponsorship arrangements, and in using Fiske’s RM theory, to identify the risk and opportunities associated with these exchanges. The case study examined here is, of course, idiosyncratic in terms of people, time and place. However, what is general, and what the authors wish to draw attention to, is how managers can employ different models of exchange to mitigate risks arising out of the dominance of any one model in the sponsorship relationship. Practical implications – For executives involved in the management of sponsorship relationships, a rich understanding of their risks and opportunities is important. For example, rather than assuming that market-based considerations or social bonds to be either wholly positive or negative, in this paper the authors have demonstrated that each can have an important role in the dynamic of sponsorship relationships. Therefore, for example, while strong social bonds will mitigate the risks of market-based mechanisms, the risks of social bonds themselves can be balanced through appropriate intermittent recourse to market-based mechanisms. In any specific sponsorship arrangement it will become a matter of balance, and a development of understanding of the role of market, hierarchical, reciprocal and communal dimensions associated with long-term relationships. Originality/value – In this regard, the authors offer six propositions, which capture the mitigation and enhancement of risks and opportunities, respectively, as well as considerations for relationship dynamics arising from the analysis.

Industry: Art Angel? Pepsi-Cola's “Portrait of America” Art Annual as an Early Instance of Corporate Art Sponsorship

The ideas of ‘corporate art’ or ‘corporate patronage’ became firmly embedded in the art world in the 1980s. However, this is not the only time that corporate sponsorship was suggested as having a role in the art world. In the 1940s, it was thought that big business could become the new “art angel” and assume the novel role of key patron of contemporary American artists. This article uses a case study—Pepsi Cola’s “Portrait of America”, an annual prize-bearing art competition with the twin aims of providing support for contemporary artists and acquiring materials for an advertising calendar—as a case study of why business patronage of art did not take root in the 1940s.

From Sponsorship to Partnership in Arts and Business Relations

A substantial amount of research has analyzed business benefits that derive from arts sponsorship and philanthropy. However, very little has been investigated about the influence of partnerships with the arts on businesses. This article highlights the particular nature of partnership and compares sponsorship and partnership with respect to business benefits. The quantitative methodology was applied, collecting data from 239 companies that collaborate with arts organizations. The study shows that partnership collaboration with the arts increases creativity and learning, and enhances positive relationships with communities and stakeholders.

Mediating effect of store attachment in formation of store emotions and patronage through art and culture sponsorship in retailing

This research examined customer perceptions of the value and effectiveness of retailers' art and cultural sponsorship. In order to explain detailed values of cultural sponsorship, the values were classified into four categories: emotional, economic, relational, and socially responsible. This study proposed that these would affect the customer satisfaction which, in turn, has an effect on store attachment and store patronage. In order to validate the research model, SEM (Structural Equation Model) was used through Lisrel 8.3. As a result of the study, all hypotheses were accepted, except the relationship between customer and store patronage. We supplementally analyzed the mediating effects of store attachment on customer satisfaction and store patronage. This research broadens the scope of sponsorship marketing by considering the relationship between the benefits of sponsorship and customer emotion and customer behavior. This study has implications for marketing practictioners who want to establish a long-term cultural marketing strategy and increase store patronage through store attachment.

A sensemaking perspective on arts sponsorship decisions

Purpose – The purpose of this paper is to better understand the sensemaking strategies of managers involved in making decisions concerning arts sponsorship. Design/methodology/approach – A qualitative, multiple case method is employed, using multiple informants in ten arts sponsorship decisions. Within and between case analyses were conducted and examined iteratively, along with literature to generate themes to guide future research. Findings – This study finds art sponsorships may be seen as ambiguous, cueing sensemaking; the sensemaking strategies of senior managers involve response to pro-social cues while middle managers draw on commercial benefit cues; sensebreaking and sensegiving are part of the process; and the actors and their interpretations draw from cues in the organisational frames of reference which act as filters, giving meaning to the situations. Research limitations/implications – This study presents a novel perspective on these decisions, focusing on the micro-level actions and interpretations of actors. It extends current understanding of sponsorship decision making, contributing to a perspective of managers responding to cues, interacting and making sense of their decisions. Practical implications – For arts managers, this perspective provides understanding of how managers (potential sponsors) respond to multiple cues, interpret and rationalise arts sponsorships. For corporate managers, insights reveal differences in sensemaking between hierarchical levels, and the role of interaction, and organisational frames of reference. Originality/value – This study is unique in its approach to understanding these decisions in terms of sensemaking, through the use of multiple informants and multiple case studies.

Understanding value from arts sponsorship: a social exchange theory perspective

Purpose – Social exchange theory literature posits that a relationship is dependent on the strength of its social interactions and is clear upon the role of trust, power and commitment within that relationship as a means of value creation. However, an understanding of the nature of experiences, expectations, motivations and perceptions as components of the value derivation process are missing. SET literature does not identify these components as antecedents to value creation but central to value derived. This research builds upon that premise to give understanding into how value is derived from arts sponsorships. Design/methodology/approach – A qualitative exploratory approach is used to research arts sponsorships in New Zealand of differing size, duration and profile. Findings – This research gives understanding into the nature of experiences, expectations, motivations and perceptions as components parts of value derivation and their interactions resulting in the creation of an iterative value derivation model of the life cycle of an arts sponsorship relationship from a business perspective. Originality/value – This research has relevance for both academics and marketing managers involved in arts sponsorship. The findings from this research can be used as an analytical tool to help businesses when evaluating their arts sponsorship.

Health in arts: are arts settings better than sports settings for promoting anti-smoking messages?

Tobacco smoking is a leading cause of preventable mortality and morbidity. Since 1991, the Western Australian Health Promotion Foundation (Healthway) has sponsored the arts and sport in exchange for cigarette smoke-free events, smoke-free policies and the promotion of anti-smoking messages (e.g. Quit, Smoke Free or Smarter than Smoking). As health promoters often look for innovative and effective settings to advocate health, and as the approach of sponsoring the arts to promote health to the general population is uncommon, the purpose of this study was to evaluate the effectiveness of 'health in arts' by measuring the cognitive impact (message awareness, comprehension, acceptance and intention) of promoting anti-smoking messages at arts events, and comparing findings to sports events, a more traditional health promotion setting. A secondary analysis of the 2004-2009 Healthway Sponsorship Monitor data was conducted. A total of 12 arts events (n = 592 respondents) and 9 sports events (n = 420 respondents) sponsored by Healthway to promote an anti-smoking message were evaluated. The study was cross-sectional in design. Participants were residents of Western Australia aged 15 years or above and attended events as part of an audience or as a spectator. Descriptive and regression analyses were conducted. After adjustment for demographic variables, smoking status and clustering, arts events were found to be as effective in promoting anti-smoking message awareness, comprehension and acceptance and twice as effective on intention to act (p = .03) compared with sports events. This study provides evidence of the effectiveness of arts sponsorship to promote health to the general population, that is, health in arts. Promoting an anti-smoking message in arts settings was as, or more, effective than in sports settings. Results suggest that the arts should be utilised to communicate and reinforce anti-smoking messages to the general population. The suitability of the arts to promote other types of health messages should be investigated further.