By Mark W. Rectanus
Photographer Annie Leibowitz collaborates with American exhibit on a portrait exhibition. Absolut Vodka engages artists for his or her ads. Philip Morris mounts an "Arts opposed to starvation" crusade in partnership with fashionable museums. Is it artwork or PR, and the place is the road that separates the creative from the company? in line with Mark Rectanus, that line has blurred. those mergers of artwork, enterprise, and museums, he argues, are examples of the global privatization of cultural investment. In tradition included, Rectanus demands complete disclosure of company involvement in cultural occasions and examines how organizations, artwork associations, and foundations are reshaping the cultural terrain. In flip, he additionally exhibits how that floor is destabilized through artists subverting those comparable associations to create a heightened wisdom of serious choices. Rectanus exposes the way in which sponsorship is helping retain social legitimation in a time whilst firms are the objective of important feedback. He offers wide-ranging examples of artists and associations grappling with company sponsorship, together with artists' collaboration with sponsors, company sponsorship of museum exhibitions, fairs, and rock concert events, and cybersponsoring. all through, Rectanus's analyzes the convergence of cultural associations with international company politics and how this shapes our tradition and our groups. Mark W. Rectanus is professor of German at Iowa country collage.
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Extra resources for Culture Incorporated: Museums, Artists, and Corporate Sponsorships
Like Joschka Fischer (foreign minister under Gerhard Schröder’s red-green coalition), Beck believes that European integration provides a political opening for the reexamination of social, political, and human rights policies (263). Certainly the introduction of comprehensive, Europe-wide standards for the environment, wages, or social policies would have a decided impact on forces of corporate globalization by simultaneously setting benchmark standards for non-EU nations. I would also suggest that political responses to corporate products, for example, opposition to genetically modiﬁed organisms in processed foods (including objections based on food-safety issues resulting from the mad cow disease [bovine spongiform encephalopathy, BSE] crisis in Europe), not only have a ripple effect within transnational corporations but also resonate in public opinion in non-EU nations.
Waters concludes that analyses of globalization are primarily based on relationships between social organization and territoriality, which are characterized by three central functions of exchange: material exchanges localize, political exchanges internationalize, and symbolic exchanges globalize (8–9). With respect to our discussion of corporate cultural politics, these dimensions relate to • the dissemination of material products and the simultaneous communication of product images at local or regional sites; • the articulation of corporate political interests (locally, nationally, and internationally) via cultural and social sponsorships; • the communication of corporate and product images globally.
Cultural sponsorships have been integrated into corporate identity, communication, and management philosophy and are increasingly measured through quantitative 30 Corporate Cultural Politics evaluation. Sponsoring specialist Manfred Bruhn suggests that managers begin the process of cultural sponsorship by evaluating cultural production in terms of its compatibility with the corporation’s own philosophy of cultural support and corporate identity (Bruhn 1991, 208). , music, art, ﬁlm, festivals) corresponds to the corporation’s own target markets, (2) whether themes and events have potential for media coverage and resonance, and (3) whether individuals and groups are “promotable” (Bruhn and Dahlhoff 1989, 74).