Commodification and Instrumentality in Cultural Policy

Gray, Clive

doi:10.1080/10286630701342899

Cited by 185 publications

(158 citation statements)

References 33 publications

Supporting

Mentioning

132

Contrasting

Unclassified

Order By: Relevance

“…Clearly, however, the work of Myerscough (1988) in the late 1980s proved influential, for some serving to rectify an 'almost scandalous lack of empirical research into the operation of the arts sector' prior to this point (Hughes 1989, p. 34). Moving through the 1990s, Gray (2007) identifies a move to focus on a range of instrumental outcomes for cultural activity, and as the 1990s ended, the New Labour administration in the UK epitomised governmental belief in the idea of 'culture-led' urban regeneration, with an intensifying rhetoric around 'evidence-based policy' (Oakley 2008) and an emphasis on gathering 'data' of some form to support the arguments around culture's potentially regenerative role. Nevertheless, much research (e.g.…”

Section: Methods and Their Social Lifementioning

confidence: 99%

The social life of measurement: how methods have shaped the idea of culture in urban regeneration

Campbell

Cox

O’Brien

2016

Journal of Cultural Economy

View full text Add to dashboard Cite

Although 'culture-led regeneration' has been critiqued as both a concept and practice, it is clear that policy-makers continue to make efforts to use cultural activity of varying forms to achieve ends which could be (and are) described in terms of urban 'regeneration'. Whilst the idea of culture-led urban regeneration had gained considerable prominence in a range of policy by the early twenty-first century, many questions have remained over how exactly such 'regenerative' outcomes could be convincingly demonstrated, despite much activity to attempt such demonstration over the course of preceding years. The desire for convincing evidence can be seen in a continued, and increasing, focus on evaluation, and methods aimed at providing evidence of impact and outcomes. In light of the renewed political focus in recent years on 'proving' the effects and value of cultural activity, this paper considers the continuation of practice in this area, and asks what lessons, if any, have been learned in evaluative practice which seeks to demonstrate the regenerative effects of culture. In light of the continuation of apparently problematic practices, the paper seeks to delineate and account for what has been learned, and what has not.

show abstract

Section: Methods and Their Social Lifementioning

confidence: 99%

The social life of measurement: how methods have shaped the idea of culture in urban regeneration

Campbell

Cox

O’Brien

2016

Journal of Cultural Economy

View full text Add to dashboard Cite

show abstract

“…De este modo, podemos interpretar las dinámicas posmodernas iniciadas hace cuarenta años como un proceso de mayor centralidad social de la cultura y a la vez su mayor mercantilización e instrumentalización para fi nes económicos y sociales (Gray, 2007). En este sentido, evidenciamos una situación paradójica: por un lado, existe un discurso sobre las industrias culturales y creativas que le asigna un rol fundamental en el desarrollo económico, social y personal (Schlesinger, 2009) y unas prácticas que asignan a la cultura un potencial transformador e innovador con capacidad de transformar la sociedad (Belfi ore y Bennett, 2007).…”

Section: Introducción: La Cultura Entre La Crisis Sistémica Y El Cambiounclassified

Presentación

Rius-Ulldemolins

Aróstegui

2015

Política Soc.

View full text Add to dashboard Cite

Introducción: la cultura, entre la crisis sistémica y el cambioEl mundo cultural vive un momento de creciente desconcierto. Las bases sobre las que se asentaban los pilares de sus sistemas parecen en crisis: una relativa autonomía del creador, unos mercados regulados por intermediarios, unas políticas públicas de sustento, democratización y apoyo a los creadores. A este desconcierto procura responder este monográfi co con aportaciones que pretenden evaluar las causas de esta crisis sistémica, situándola en el marco de la inevitable transición al paradigma digital. Asimismo, se propone la necesidad de vislumbrar nuevos escenarios para la cultura y por consiguiente, se analizan algunos aspectos de la política cultural que apuntan a una apremiante refundación.Sin embargo, la actual crisis del sistema cultural no arranca con la gran recesión del siglo XXI, sino que responde a los inicios de una desarticulación del orden social, político y cultural de la posguerra en los años setenta (Lash y Urry, 1998). De este modo, podemos interpretar las dinámicas posmodernas iniciadas hace cuarenta años como un proceso de mayor centralidad social de la cultura y a la vez su mayor mercantilización e instrumentalización para fi nes económicos y sociales (Gray, 2007). En este sentido, evidenciamos una situación paradójica: por un lado, existe un discurso sobre las industrias culturales y creativas que le asigna un rol fundamental en el desarrollo económico, social y personal (Schlesinger, 2009) y unas prácticas que asignan a la cultura un potencial transformador e innovador con capacidad de transformar la sociedad (Belfi ore y Bennett, 2007). Pero, por el otro, todos los sectores culturales, y

show abstract

“…24 A common challenge facing the arts in most countries is reduced funding for the arts (Boorsma, et al, 1998). This appears to be related to neo-liberal model of economic organization in which all aspects of social life need to be justified in market-centered or utilitarian terms (Belfiore, 2012;Gray, 2000Gray, , 2007McGuigan, 2009). 25 Despite a general view that the arts are somehow valuable, the arts can be hard to justify in state policies (Belfiore and Bennett, 2010)-especially when set against apparently more pressing, or more easily measured, areas, such as health care, education, business support or policing.…”

Section: Art and The Statementioning

confidence: 99%

Art at the crossroads: The arts in society and the sociology of art

Alexander

Bowler

2014

Poetics

View full text Add to dashboard Cite

The arts face a number of challenges in the 21 st century brought about by various factors.These include rapid expansion of art markets at an international level, the impact of economic restructuring in public funding for the arts, the increasing dominance of neoliberal models of institutional and organizational success, changes in the definition of artistic work and artistic identity, and changes in the definition of audiences and new modes of arts participation in the face of technological innovations in communication technologies. In this paper, we identify and analyze six major themes central to the arts and the sociology of art: the marginalization of the arts in society and sociology, art and the state, arts institutions and organizations, artists and audiences, and issues of meaning and measurement. We argue that the arts and arts scholarship face a crossroads in the current environment. We conclude with some observations about directions for future research. Drawing inspiration from these changes in arts worlds and their implications for both the arts and arts scholarship, we explore six major themes central to the arts and the sociology of the arts in the current environment. Each of the themes-the marginalization of the arts in society and sociology, changing markets, art and the state, institutions and organizations, artists and audiences, and issues of meaning and measurement-includes observations about changes in the art world as well, as a discussion of scholarship in the area. We conclude with a discussion of directions for future research. It is our hope that this article will provide a useful overview of the state of arts scholarship at this challenging time, and suggestions for its future development. The articles in this special issue of Poetics are a contribution to that development. The marginalization of the arts in society and sociology 3The arts have occupied a marginalized position in both modern society and the discipline of sociology. Historically and today, the arts have been judged less important than other areas of study for the social sciences. As a recognized area of specialization, the sociology of art is relatively new and still developing (see below). The marginalization of art in society may be less obvious or even puzzling. After all, the arts hold an exalted, even sacred, position in society; they have the ability to confer status honor on the people who consume and possess expert knowledge about them; and expensive sales of art are reported frequently in the media. But as we demonstrate below, it is precisely this exalted status that results in the marginalization of the arts in the broader social context.The sharp, hierarchical distinction between the fine and popular arts that was drawn in the nineteenth and twentieth centuries created a dichotomous model of aesthetic objects and practices, the institutions and audiences to which they belong, and the functions or purposes they serve (DiMaggio, 1982a(DiMaggio, , 1982bLevine, 1988). 2 Put simply, the fine arts were ...

show abstract

Commodification and Instrumentality in Cultural Policy

Cited by 185 publications

References 33 publications

The social life of measurement: how methods have shaped the idea of culture in urban regeneration

The social life of measurement: how methods have shaped the idea of culture in urban regeneration

Presentación

Art at the crossroads: The arts in society and the sociology of art

Contact Info

Product

Resources

About