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Introduction The Changing Role of Arts Intermediaries

Introduction The Changing Role of Arts Intermediaries Introduction The Changing Role of Arts Intermediaries ARTHUR BROOKS he literature on arts management and cultural policy has traditionally T reflected a stylized view of the production and consumption of the arts. Most research focuses on artists, audiences, or firms that are directly respon- sible for arts production, whereas less work has tried to understand the role of intermediaries in creating (or destroying) arts value and encouraging (or dis- couraging) arts innovation, despite the fact that these intermediaries are ubiq- uitous. For example, between a composer, a string quartet, and an audience, there may be production firms, agents, artist managers, presenters, govern- ment funders, and private donors-all of whom are responsible in some part for the production and delivery of the artistic service. This issue of the Journal of Arts Management, Law, and Society is devot- ed to several of these non-arts entities in the arts “value chain.” The five arti- cles focus broadly on two questions: First, do arts intermediaries always cre- ate positive value? Second, what criteria can we establish to judge their cur- rent and future utility? We start with the government. The standard view of governments as finan- cial or functional arts intermediaries is that http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png "The Journal of Arts Management, Law, and Society" Taylor & Francis

Introduction The Changing Role of Arts Intermediaries

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Introduction The Changing Role of Arts Intermediaries

Abstract

Introduction The Changing Role of Arts Intermediaries ARTHUR BROOKS he literature on arts management and cultural policy has traditionally T reflected a stylized view of the production and consumption of the arts. Most research focuses on artists, audiences, or firms that are directly respon- sible for arts production, whereas less work has tried to understand the role of intermediaries in creating (or destroying) arts value and encouraging (or dis- couraging) arts innovation, despite the...
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1930-7799
eISSN
1063-2921
DOI
10.1080/10632920309596567
Publisher site
See Article on Publisher Site

Abstract

Introduction The Changing Role of Arts Intermediaries ARTHUR BROOKS he literature on arts management and cultural policy has traditionally T reflected a stylized view of the production and consumption of the arts. Most research focuses on artists, audiences, or firms that are directly respon- sible for arts production, whereas less work has tried to understand the role of intermediaries in creating (or destroying) arts value and encouraging (or dis- couraging) arts innovation, despite the fact that these intermediaries are ubiq- uitous. For example, between a composer, a string quartet, and an audience, there may be production firms, agents, artist managers, presenters, govern- ment funders, and private donors-all of whom are responsible in some part for the production and delivery of the artistic service. This issue of the Journal of Arts Management, Law, and Society is devot- ed to several of these non-arts entities in the arts “value chain.” The five arti- cles focus broadly on two questions: First, do arts intermediaries always cre- ate positive value? Second, what criteria can we establish to judge their cur- rent and future utility? We start with the government. The standard view of governments as finan- cial or functional arts intermediaries is that

Journal

"The Journal of Arts Management, Law, and Society" – Taylor & Francis

Published: Jan 1, 2003

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