Closing the gap between theory and practice presents a major challenge for branding. However, a disconnect has formed between city branding research and practice. This paper argues the divergent evolutionary paths of city branding research and practice contribute to this disconnect. Specifically, we review the evolution of city branding research and practice through a macroscopic lens in order to delineate major shifts in the philosophies and assumptions shaping each trajectory. In terms of practice, we map the development of city brand management over five waves covering primitive attempts to adjust what cities mean to people, boosterish city promotion, entrepreneurial urban governance, formalised city marketing and, finally, a rhetorical city brand focus. We then identify four major waves in city branding research: (1) initial possibilities, (2) application and adaption of existing branding theory, (3) development of a critical lens and (4) progressive approaches that intersect with the co-creation branding paradigm. As well as providing a basis for mutual understanding and collaboration between researchers and practitioners, examination of both evolutionary paths indicates major research gaps in the city branding literature that appear particularly pertinent to bridging the city branding theory-practice gap.

City elements propelling city brand meaningmaking processes: Urban reminders, the arts, and residential behavior.

Purpose This paper aims to explore the capacity of Australian silo art from a creative placemaking perspective. The paper also takes up this case as fertile ground for probing into the complexity of creative placemaking. Design/methodology/approach The case study approach is exploratory, drawing on public documents and media sources to thematically (i.e. qualitatively) analyse the factors, actors and processes that pertain to how Australian silo art can contribute towards empowering communities, activating everyday spaces and, ultimately, making socially connected and resilient places. Findings Each theme encapsulates a particular interplay: (1) physical space – social place, (2) past – present – future place, (3) bottom-up – top-down energies, (4) residents – tourists, (5) urban – nonurban place and (6) material – digital place. Research limitations/implications Rather than proffering conclusions about the current impact of silo art on local communities, the paper illuminates the practical workings of silo art as a potential form of creative placemaking. Additionally, thinking of creative placemaking in terms of ongoing interplays could stimulate and expand knowledge and practice in this domain. Originality/value This paper initiates and charts a course for a rigorous and critical investigation into silo art as a substantive cultural and artistic phenomenon and a meaningful chapter in regional arts and creative placemaking in Australia. The interplays distinguished provide an additional basis for probing further into the many layers and overall complexity of creative placemaking.

PurposeThe purpose of this paper is to begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.Design/methodology/approachThe paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.FindingsThe first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.Research limitations/implicationsThe investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.Practical implicationsThe research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.Originality/valueThe paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.