Volume 29 Number 2 (PRE-RELEASED)
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Bridging the Gap: Understanding Non-Visitor and Visitor Engagement in Museums Through the Lens of Cultural Capital
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Does Virtual Help Reality? Effects of Pre-Visit Information Tools on Learning, Satisfaction, Museum Liking, and Willingness to Visit
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Speculative Culture: Satellite Museums as Market Infrastructures – The Hermitage Barcelona Case
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When Societal Critique Becomes Artistic Value: Theorizing Societal Marketing in Contemporary Art
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Business Model Evolution and Value Dynamics in the Video Game Industry: A Systematic Review
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Artistic Value Transformation and Brand Performance in Museum Cultural and Creative Products: Evidence from Shaanxi History Museum
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Overcoming the Obscurity of Local Entrepreneurial Artisan Firms: The Role of E-Commerce Signals
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Research on the Ethics and Governance of Generative Artificial Intelligence Music Creation
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The Museum Choice: Institutionalization Dynamics in the Comics Field in Italy
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Beijing Tianqiao Performing Arts Center: Spatial Reinvention and Value Re-Creation Through New Performance Venues
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Volume 29 Number 1 (PRE-RELEASED)
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Art Prices, Disparities, and Cultural Leadership
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The Value(s) of Women Artists
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Non-Fungible Tokens as Investment
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Value Compression in the Market for Antique Decorative Arts and Furniture
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Between Heritage and Investment: Constructing the First Hedonic Price Index for the Czech Art Market
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Theoretical Models of Art Prices: A Comprehensive Review with Applications for Arts Management
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Signals, Strategies, Statements: How Art Museums Shape the Art Market for Paintings of Heritage Significance
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The Intangible in Art: Brand, Name, and Image as Financial Assets for Arts Institutions
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| Breaking the Mold: How the Rodin Museum Became France’s Most Financially Autonomous Cultural Institution |
| From Art as Financial Investment to Artists as Organizational Partners: A Broader Understanding of Collaborations Between Artists and Companies |
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The Soundtrack of Discovery: Exploring the Impact of Spotify’s Recommender System and Algorithm Awareness on Musical Taste Expansion
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Narrative Transportation and Cinematic Advertising: The Role of Fantastical Thinking in Unrealistic Trailers
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Pop Culture, Engagement and Visitor Profiles: The Case of Comic Con – Porto 2024
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Stitches of Ethics: An Art-Based Analysis of the Romanian Blouse as a Transgenerational Code
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| Role of Cultural Capital and Social Relationship in Shaping Cultural Consumption Diversity |
| The Role of Technology in the Experience Appropriation Process: An Exploration in a Phygital Cultural Context |
| Attributing Value to Cultural Facilities: The Case of a Public Archive in Brazil |
| Consumer Perceptions of Artistic Product Innovativeness in Film: Core and Peripheral Attributes |
| The Scena Project: Digital Asset Management in the Theater Industry |
| Book Review: The Routledge Companion to Governance in the Arts World |
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| Secondary Ticketing and Classical Music Institutions: The Opéra de Paris and the Vienna New Year’s Concert |
| The Future of Art Galleries: Rethinking Models for a Changing Market |
| An Investigation into the Willingness of Chinese Home Textile Designers to Adopt AI Tools from the Perspective of Guanxi |
| Sustainability in the Theater Management: Opportunities and Challenges in Establishing Sustainability Strategies in the German Theater Landscape |
| Measuring Museum Visitors’ Perceived Value to Predict Word-of-Mouth (WoM) Communication |
| Innovating the Art Market: The Promotion of Emerging Artists Through Online Platforms |
| Rethinking Reading with E-Books: A Consumer Value Perspective |
| Marketing the Arts: A Quantitative Literature Review |
| Book Review: The European Bookshop Business Model |
| Book Review: Harmonising Cultural Leadership in Professional Orchestras |
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| Deep Roots, Creative Fruits: How Product Depth Reinforces Imprinting for Creative Performance |
| Prepared for the Profession? Practitioner Perspectives on Preprofessional Performing Arts Education |
| The Art Infusion Effect of Intangible Cultural Heritage: A Study on the Influence of Different Art Types on Consumer Product Evaluation |
| Sensemaking and Artistic Directors in the Performing Arts Sector |
| Book Review: The Social Organization of Arts: A Theoretical Compendium |
| Adapting to Crisis: Digital Transformation and Financial Strategies in the Italian Performing Arts Before, During and After COVID-19 |
| Predicting Museum Visitors’ Intention Through Nonverbal Cues: The Potential of Facial Expressions |
| (Im)materiality of Knowledge: Study on Value Creation Beyond Intellectual Property Rights Based on the Chinese Improvisation Theater |
| Coping Mechanism of Balinese Music: The Case of Kuta Tourist Destination in Bali, Indonesia |
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| Understanding the Impact of Digital Technology on Performing Arts: A Comparative Analysis of Scientific and Professional Issues |
| Book Review: Democracy as Creative Practice: Weaving a Culture of Civic Life |
Orchestrating Sustainability: Integrated Approaches in Performing Arts Management for Economic, Social, and Environmental Resilience
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Forming a Museum Labor Union: The Case of PASTA MoMA
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The Nexus Between Arts and Ageing: Bridging the Generational Gaps
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A Spectroscopic Exploration of the Music Marketing Literature: Origins, Historical Roots and Recent Developments
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Classical Music Festivals in Japan: Types, Objectives, and Integrated Model of Impact Assessment and Theoretical Implications
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The Impact of Written Words: A New Methodology for Assessing the Impact of Cultural Initiatives on Subjective Well-Being
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Legacy of a Sonic Maverick: Steve Albini and Electrical Audio
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Imitation of Business Models: The Case of Online News Industry in France
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Racialized Leadership and Organizational Financial Performance in the Arts
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Using Visual Art to Reduce Public Stigmatization of People with Mental Disabilities
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Order of Re-Consumption of Partially Similar Objects in Consumers’ Hedonic Experiences: The Case of Book-to-Film Adaptations
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The Emergence of New Film Distribution Models as a Result of Streaming Platforms’ Impact on the Contemporary Film Market
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| Book Review: Financial Leadership for the Arts: Sustainable Strategies for Creative Organizations |
| Chameleons in Practice: Managing a Community Arts-Based Program |
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| A Scale for Measuring Perceived Artist Authenticity When Artists Are Associated with Brands |
| Art + Information + Conversation = Social Change: A Model for Financially Viable Theater |
| Book Review: The Italian Legacy in Philadelphia: History, Culture, People, and Ideas |
| Exploring the Impact of Book Influencers on Reading Intentions in the Scroll Era |
| Museums and Corporate Partners: The Case of Van Gogh Museum and Shell |
| The Board of Directors in an Arts Organisation: How Co-existing Institutional Logics Limited the Board’s Strategic Contribution |
| “The Layout Helps” – Community Orchestra Performance Spaces and Relational Audience Engagement |
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| Examining the Cultural Value of the Beijing Dance Festival from the Perspective of Cultural Ecology |
| Gender Pay Gap in the Early-Stage Careers of Canadian Creative Workers |
| How Can Individual Creativity Embrace Sustainability? Evidence from French Gastronomy |
| Integrating Design Thinking into Arts Organizations: An Approach to Advancing DEI through Community Engagement Programs |
| Partnerships between Artists and Brands: A Case Study in the Brazilian Music Market |
| The Process of Team Conflict in Bands: A Case Study Based on Three Indie Bands |
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| A New Typology of Chinese Rural Revitalization through Art: The Case of Qingtian |
| Building a Coopetitive Business Model: The Case of Montparnasse Tower in Paris |
| Do Children Motivate Their Parents to Play Digital Games? Child-Rearing vs. Intrafamilial Externality |
| Greening Live Shows: What Factors Matter? A Systematic Review of Factors Affecting Sustainability Practices in Music Festivals |
| Policy, Passion and Precarity: How Structural Frameworks Shape the Tenure of Artistic Directors in the Subsidized Theatre Sector |
| The Paradox of Corporate Sponsorship of Arts in the Age of Austerity |
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| Consumption Experiences in the Arts |
| Disruptive Audience Performance: The Extremes of the Duet Applauses/Boos |
| Evolution of the Literature on Experiential Marketing After Holbrook and Hirschman’s (1982) Seminal Article |
| Exploiting the Cultural Consumption Experience |
| Fantasies, Feelings and Fun – 40 Years On: Experiencing Film in Times of Trouble |
| Forty Winks |
| Psychological Ownership of Arts Experiences |
| Reviewing Experiential Value in the Arts |
| Revisiting the 3Fs Model at the Digital Era – The Age of Eudaimonism and Alternative Hedonism |
| The Role of Fantasies in the Arts: A Call for Better Understanding and Management |
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| Determinants of the Diversity of Cultural Participation and Consumption in South Africa |
| Diversity and Inclusion at Duceppe Theatre: A Case to Approach to Diversity |
| Enabling Creative Connections: The Case of Digital Arts Consumption |
| Eurovision as Support for the LGBT Collective: Perceptions Based on the Profile of its Audience |
| From the “Efforts of the Weak Horses” to the International Arena: The Istanbul Biennial and Art Worlds |
| It Takes Four to Tango: Designing E-D-I Practices in Cultural District |
| Napoleon vs Marie-Antoinette: Gender Stereotypes in Video Games Consumption and Their Reproduction in Game Narratives |
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| Business Models of Contemporary Art Galleries and Art Fair Influence: A Thematic Synthesis of the Literature |
| Challenges and Success Factors in Nonprofit Arts Organization Mergers |
| Cultural Institutes Abroad in the 21st Century: The Case of The Korean Cultural Centre UK |
| Fans as Prosumers: Labour of Love |
| No Lights, No Camera, No Action: Indian Movie Industry Practitioner Perspectives on Life After the Pandemic |
| Refugees and Art: Tailor-Made Integrative Art Projects by Identifying Citizen Target Groups |
| Time Is Money: Running Time and Efficient Strategies in the Movie Industry |
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| An Analytical and Comparative Approach to Cultural Heritage Experiences Enhanced With Augmented Reality |
| Effects of Various Charitable Contribution Ratios under Pay-What-You-Want on Art Museum Revenues |
| Executive Recruitment Through the Candidate’s Lens: An Interview Study on the Candidate Experience of Museum Executives |
| Factors Affecting Satisfaction with Media Art Experiences and Intention to Re-experience: Focusing on Interactivity, Presence, and Flow |
| How Electronic Word-of-Mouth Forms and Affects the Market Performance of Art Exhibitions |
| Perceived Value of the Opera Experience in the Real and Virtual Spheres: Dimensions That Make the Difference |
| The Beijing Performance and Arts Group: Value Creation of Performing Arts Through a Dual System of Governance |
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| Can Innovativeness in Museums Benefit From Ethical Virtues? |
| Cultural Omnivorousness in South Korea: The Effects of Political Participation, Religion and Cultural Infrastructure |
| Employment Practices and Institutional Inertia in the Arts Sector: The Roles and Skills of Arts Managers in Building Organizational Capacity and Creating Public Value |
| Legitimating Business Skills in Fine Arts Education: The Role of Entrepreneurial Orientation |
| Sustaining the Arts by Means of Business Model Innovation |
| Walking the Eco-Talk: Cultural and Arts Management During an Era of Sustainable Development |
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| Assessing a DIY Toolkit to Measure the Economic Impact of Festivals at the National Level: Evidence From 19 Jazz Festivals in Italy |
| Business Model Evolution and Entrepreneurial Adaptation of Festivals: The Case of Santiago a Mil |
| Differentiation Through the Over-Experientialization of Cultural Offers: The Case of Contemporary Music Festivals |
| Economic Impact and Return on Public Investment of a Book Fair and Cultural Festival |
| Exploring Attendees’ Experience at a Reggae Festival: A Case Study of Rototom Sunsplash |
| The Madhya Pradesh Tribal Museum in Bhopal, India |
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| Arts Governance: From Ambivalence to Ambiguity |
| Austrian Film Festival Forum: Cultural Governance and Accountability in Viennese Film Festivals |
| Board Size Matters: Fundraising in American Cultural Organizations |
| Inside and Outside the Boardroom: Collaborative Practices in the Performing Arts Sector |
| Leading Collaborative Governance in the Cultural Sector: The Participatory Cases of Korean Arts Organizations |
| Public Boards: Questions of Representation on Supervisory Boards of German, Austrian and Swiss Theatres |
| Towards an Integrative Framework for Arts Governance |
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| Cultural Representation, Identity and Socialization: Exploring Critical Approaches to Providing Arts Education for North Korean Refugee Youth |
| Intergenerational Transmission of Culinary Heritage: An Object-Centred Approach |
| Kids, Today We’re Going to the Museum!” Discriminating Factors in Museum Visiting for Families With Children in Italy |
| Rock School Barbey: Music Transmission Through Informal Learning and Community of Practice |
| Socialization of Cultural Consumers in the Family: A Synthesis of 50 Years of Marketing Research |
| Welcoming Families to the Museum: Reconsidering Forms of Cultural Mediation for Parent/Child Autonomous Visits |
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| Closing the Museum Leadership Gap: Theoretical Framework and Empirical Investigation of Museum Leader Attributes |
| Death and Life: The Promise and Problems of the Arts in Rural Communities |
| Key Performance Dimensions of the “Well-Tempered Musician”: A Framework for Artist Management |
| Stability and Compatibility in the Receptivity of US Arts and Culture Organizations to Corporate Support |
| The Digital Strategies of Publishing Houses: A Matter of Book Content? |
| Venice in Crisis: The Brutal Marker of Covid-19 |
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| Customer Engagement and New Product Adoption in the Music Industry: The Importance of Fit Between Brand and New Product Innovativeness |
| From Niche Interest to Fashion Trend: Hanfu Clothing as a Rising Industry in China |
| How Status Affects the Unconventionality of Opera Repertoires: Conflicting Criteria for Status Distinction, Aesthetic Conventionality and Repertoire Nonconformity in Italian Opera |
| Post-Series Depression: Mediating the Relationship Between Screen Fandom and Abnormal Consumption of Screen-Related Products |
| Tensions for Cultural Entrepreneurs Managing Continuous Innovation: A Systematic Literature Review |
| The Progressive Structuration and Boundary Setting of the Creative Industries as a Scientific Field |
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| Does Digital Mediation Really Change the Museum Experience? Museomix in the Lyon-Fourvière Archaeological Museum |
| Has Art Lost Its Aura? How Reintermediation and Decoupling Have Changed the Rules of the Art Game: The Case of Artvisor |
| Multivariate Statistical Analysis of Artification Effect on Customer-Based Brand Equity in Luxury Brands |
| Passing the Bechdel Test and the Influence of Internet and Social Media Advertising on Seeing a New Movie Release |
| “So to Speak”: A Discursive Approach to Understanding Liminality in Business-to-Arts Interactions |
| Steadfastly White, Female, Hetero and Able-Bodied: An International Survey on the Motivations and Experiences of Arts Management Graduates |
| The Relative Importance of Labelling a Craft Product: A Conjoint Analysis |
| Transitions in the Life Cycle of Cultural Organizations: The Cases of Four Montreal-Based Organizations |
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| Business Success for Creative and Cultural Entrepreneurs: Influences of Individual- and Firm-Related Factors on Revenue and Satisfaction |
| Direct, Indirect and Cross-Lagged: The Effects of Cultural Policy on Nascent Cultural Entrepreneurship |
| Identity Work In the Context of Co-located Creative Entrepreneurs: How Place Influences Professional Identity |
| Managing the Work Commitment of SOHO Creative Workers Located in the Same Quarter: A Place-Based Approach |
| Notre-Dame Is Burning: Learning From the Crisis of a Superstar Religious Monument |
| The Figure of the Cultural Entrepreneur: A Political Construct |
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| Continuity and Variety: The Allocation of Symbolic Rewards in Elite Italian Winemaking |
| Facing Disruption: The Cinema Value Chain in the Digital Age |
| Governance of the German Film Industry: A Multilevel Analysis of State Aid Policy |
| Inside the “Panacousticon”: How Orchestra Conductors Play With Discipline to Produce Art |
| The Paradoxes of “Teaming” in the Creative Events Industry: The Case of Balich Worldwide Shows |
| The Role of Background Music in Visitors’ Experience of Art Exhibitions: Music, Memory and Art Appraisal |
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| An International Perspective on Managing a Career as a Woman Composer |
| French Budget Act (LOLF) Indicators as Seen Through the Lens of the National Drama Centres: A Case Study |
| From Know-How to Know-When: Strategies That Brazilian Musicians Use to Reorient Their Careers in the Face of Technological and Institutional Changes |
| Object Label Quality and Label Readership in Small Museums |
| Operations Management and Strategic Positioning of the NCPA |
| The Role of the Museum Shop: Eliciting the Opinions of Museum Professionals |
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| Art Museum Visitor Segments: Evidence From Italy on Omnivores and Highbrow Univores |
| Customer Relationships in Arts Marketing: A Review of Key Dimensions in Delivery by Artistic and Cultural Organizations |
| Experiential Staging in the Urban Space: Video Mapping of Places and Non-places |
| Narrative Transportation and Transmedia Consumption Experience in the Cultural Field |
| The Decision to Purchase a Bundled Cultural Pass: The Role of Pre-existing Attitudinal and Behavioural Relationships With One Network Member |
| The Mediating Role of Place Attachment in Experience and Word of Mouth: The Case of Music and Film Festivals |
| Using Technology to Optimize Customer Relationship Management: The Case of Cirque du Soleil |
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| A Matrix That Encompasses the Diversity of Successions in Cultural Organizations |
| Cost Disease in Consumption and Spectatorship Management: A Cross-Country Study of the Value Creation Mechanism in the Performing Arts |
| How God and King Affect Our Music Tastes: Religiosity and Political Interest as Predictors of Omnivorousness |
| How the Attributes of a Museum Experience Influence Electronic Word-of-Mouth Valence: An Analysis of Online Museum Reviews |
| ICT Adoption Behaviours of Heritage Organizations in South West Europe: Conservative, Pragmatist and Pioneering |
| Overcoming Project Inertia and Gaining Project Momentum: Strategic Adaptation in Cultural Facilities Planning |
| Performance Measurement in Non-profit Theatre Organizations: The Case of Greek Municipal and Regional Theatres |
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| Chinese Opera and the International Market |
| Distributed Agility: Artist Co-management in the Music Attention Economy |
| Does the Web Diversify the Visibility of Books? Evidence From French Data |
| It’s a Matter of Attention: The Marketing of Theatres in the Age of Social Media |
| Louvre Abu Dhabi: A Radical Innovation, But What Future for French Cultural Influence? |
| Media: From the Contact Economy to the Attention Economy |
| The Importance of the Venue in an Information Search: Online Ticket Purchase in the Performing Arts |
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| Board Composition and Organizational Performance in the Cultural Sector: The Case of Italian Opera Houses |
| Compete or Cooperate in the Creative Industries? A Quasi-experimental Study With Dutch Cultural and Creative Entrepreneurs |
| Creative Futures for New Contemporary Artists: Opportunities and Barriers |
| De visitus non est disputandum: How Visitors to Public Museums Cluster Towards Deaccessioning |
| Grouping or Grounding? Cultural District and Creative Cluster Management in Nantes, France |
| Value Creation by and Evaluation of US Arts Incubators |
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| Consumer Perceptions of Arts Organizations’ Strategies for Responding to Online Reviews |
| Distinctions Between Frequent Performing Arts Consumers: Implications for Segmentation and Positioning |
| Doing Well by Doing Good: Les Grands Ballets Canadiens de Montréal Offers Dance Therapy as a Strategic Initiative |
| Managing Creative Firms by Adopting a Paradox Framework: The Case of Studio Libeskind |
| Scheduled Audience Capacity for Performing Arts Productions: The Role of Product Innovativeness and Organizational Legitimacy |
| Subscribers’ Overall Evaluation of a Multi-experience Cultural Service, Tolerance for Disappointment, and Sustainable Loyalty |
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| A Quantitative Analysis of Reading Habits in Spain |
| An Artist’s Perceived Value: Development of a Measurement Scale |
| Consumption Habits, Perception and Positioning of Content-Access Devices in Recorded Music |
| Live Flamenco in Spain: A Dynamic Analysis of Supply, With Managerial Implications |
| Share of Local Programming in Spanish Public Theatres |
| Teatro Olympia: A Family-Run Venue Entering a New Century |
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| Arts Management the Indian Way: Bangalore’s Ranga Shankara Theatre |
| Corporate Museums to Enhance Brand Authenticity in Luxury Goods Companies: The Case of Salvatore Ferragamo |
| Do Employees in the Cultural Sector Adhere More Strongly to Their Organization’s Goals Than Employees in Other Sectors? |
| Does the Artist’s Name Influence the Perceived Value of an Art Work? |
| Knowledge-Centric Arts Organizations: Connecting Practice to Performance |
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| A Portrait of the Artist as an Employee: The Impact of Personality on Career Satisfaction |
| Audience Behaviour or Buyer Behaviour: What Can Models of Brand Buying Behaviour Say About Arts Audiences? |
| Brand Audit for Cultural Institutions (BAC): A Validated and Holistic Brand Controlling Tool |
| Creating a Competitive Advantage: The Exoticism of Tango and Salsa From Cali, Colombia |
| Managing Creative Teams in Small Ambidextrous Organizations: The Case of Videogames |
| Self-Management of Work in the Creative Industries in the Netherlands |
| The Tricks of Artistic Training: Learning From Bartabas’s Academy of Equestrian Arts |
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| Festival de Lanaudière: Differentiation in Customer Experience |
| Network of Organizational Identities in the Formation of a Cultural Joint Venture: A Case Study of the Helsinki Music Centre |
| Reasons for Networking in Institutionalized Music Productions: Case Studies of an Opera House and a Music Festival |
| The Phantom of Modern Opera: How Economics and Politics Affect the Programming Strategies of Opera Houses |
| Unveiling Latent Demand in the Cultural Industries: An Application to Live Music Participation |
| When Placement Becomes Collaborative Branded Entertainment: The Case of Music Concerts |
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| Analysis of Public Policies for Crafts Development in Mexico |
| Arts Management in Developing Countries: A Latin American Perspective |
| Constructing the Meaning of Cultural Management in Latin America |
| Cultural Entrepreneurship from a Local Perspective. An Exploratory View from Statistical Textual Analysis Applied to the Colombian Case |
| Cultural Policies in the Mirror of Theatre Directors in Cali |
| Management Practices in Theater: a Diagnosis of Chilean Independent Companies and their Operating Models |
| Rio de Janeiro’s Movie Industry Cluster and its Sources of Growth |
| Tania Pérez-Salas, Dancer and Choreographer: From Artistic Creation to Management of a Cultural Enterprise |
| The Role of Arts Organizations in Cultural Policy: The “Cultural Return” Analysis |
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| Communicating Identity or Status? A Media Analysis of Art Works Visible in Photographic Portraits of Business Executives |
| Efficiency of Web Communication Strategies: The Case of Art Museums |
| How to Avoid Dependence in the Videogame Industry: The Case of Ankama |
| Mural Art at a Business School: The Impact of Viewers’ Personal Economic Philosophy on Evoked Emotions, Cognitive Responses and Narrative Recognition |
| The Art, Influence and Business of Satire: Peeling Back the Layers of The Onion |
| The Reaction of Visitors to Contemporary Art in a Classical Art Institution: A Louvre Museum Case Study |
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| Audience Participation in Cultural Projects: Bringing the Organization Back In |
| Breaking Down the Fourth Wall in Arts Management: The Implications of Engaging Users in Decision-Making |
| Can Interactive Mediation Tools Bridge the Identity Gap Between the Public and the Art Museum? |
| How Do the Underprivileged Access Culture? |
| How to Engage Audiences With Increasingly Eclectic Tastes: The Experience of TOHU, a Montreal Circus Arts Presenter |
| Interactive Design and Community Participation: The Case of Mullae Art Village |
| Web 2.0: Is the Museum-Visit or Relationship Being Redefined? |
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| External Impact of Arts Management Research: An Extended Analysis |
| From the Student Side of the Ivory Tower: An Empirical Study of Student Expectations of Internships in Arts and Cultural Management |
| Generativity: Its Role, Dimensions and Impact on Cultural Organizations in France |
| New Variations of Dual Leadership: Insights From Finnish Theatre |
| Preservation of Living Cultural Heritage: The Case of Basque Choirs and Their Audience |
| The Second City Is First in Creative Entrepreneurship |
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| Excel Entertainment: A Reflection of Contemporary Bollywood |
| Exploration of the Concept of Cinephilia in the Context of an Emerging Country: The Case of Tunisia |
| The Dynamics of Emotions in Movie Consumption: A Spectator-Centred Approach |
| The Potential Effect of VOD on the Sequential Process of Theatrical Movies |
| The Wisdom of Crowds in the Movie Industry: Towards New Solutions to Reduce Uncertainties |
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| Arts Funding and Its Effects on Strategy, Management and Learning |
| Creating Brand Identity in Art Museums: A Case Study |
| Joana Vasconcelos: Managing an Artist’s Studio in the 21st Century |
| Programming Strategies and Demand in the Performing Arts: The Case of the Forum in Le Blanc-Mesnil, France |
| Space, Movement and Attention: Affordances of the Museum Environment |
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| Financing Creativity: Crowdfunding as a New Approach for Theatre Projects |
| How Do Investors Communicate With Innovators Such as “Geeks”? A Case Study of HackFwd |
| Roger Parent and Réalisations Inc. Montréal: A Flair for Creativity |
| The Role of Open Licences and Free Music in Value Co-creation: The Case of Misteur Valaire |
| When Organizations in the Cultural Industries Seek New Business Models: A Case Study of the French Online Press |
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| Creativity and the Reproduction of Cultural Products: The Experience of Italian Haute Cuisine Chefs |
| Daniel Boulud: The Making of a Successful Creative Individual Business Model |
| Determinants of the Number of Artworks in Corporate Art Collections |
| From Museum to Amusement Park: The Opportunities and Risks of Edutainment |
| Managing Transition in an Artistic Company With Entrepreneurial Management: A Case Study of Groupe Bernard Loiseau |
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| Are Arts Events a Good Way of Augmenting the Economic Impact of Sport? The Case of the 2010 FIFA World Cup and the National Arts Festival in South Africa |
| Embracing Jazz: Exploring Audience Participation in Jazz Music in Its Birthplace |
| How to Attract and Retain Artistic Talent: The Case of an Italian Ballet Company |
| Performance Measurement at World Heritage Sites: Per Aspera ad Astra |
| The Montreal Museum of Fine Arts: Balancing International Reach and Strong Local Roots |
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| Attractiveness of Limited Edition Artwork for First-Generation Newly Affluent Consumers |
| Picasso’s Guernica: The Strength of an Art Brand in Destination e-Branding |
| Searching for Relevance: Survival Strategies of Museums During Times of Political Uncertainty in South Africa |
| The Subsidized Contemporary Dance Market in France: Creation at All Costs |
| What’s a Movie Worth? Determining the Monetary Value of Motion Pictures’ TV Rights |
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| Pitchfork: Birth of an Indie Music Mega-brand |
| Technological Change at the Heart of the Creative Process: Insights From the Videogame Industry |
| The Digital Revolution and Convergence in the Videogame and Animation Industries: Effects on the Strategic Organization of the Innovation Process |
| The Disruptive Nature of Digitization: The Case of the Recorded Music Industry |
| The Future of Museums in the Digital Age: New Models for Access to and Use of Digital Collections |
| The Solid Body Guitar in the Digital Era: How Persistent Myths Influence Musicians’ Evaluation Criteria |
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| Consumer Perception of Abstract and Representational Visual Art |
| Impact of Mediation Devices on the Museum Visit Experience and on Visitors’ Behavioural Intentions |
| Lille Metropolitan Art Programme: Museum Networking in Northern France |
| Renewal of Territorial Governance Through Cultural Events: Case Study of the Picasso-Aix 2009 Cultural Season |
| The Music Industry in the Digital Age: Consumer Participation in Value Creation |
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| Four Business Models in Contemporary Art |
| Surviving in Times of Turmoil: Adaptation of the Théâtre Les Deux Mondes Business Model |
| The Bank of the Republic and Cultural Management: A Process of Organizational Learning |
| The Importance of Word of Mouth for Museums: An Analytical Framework |
| The Organization of Knowledge Sharing at the Colorado Music Festival |
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| Can Good Governance Prevent Financial Crises in Arts Organizations? |
| Designing a Strategic Framework to Assess Museum Activities |
| From Mainstage to Movies to Media: Sustaining the Live and Performing Arts Through Artistic Convergence and the Balaban and Katz Philosophy of Continuous Performance |
| Impact of Underlying Demand and Agglomeration of Supply on Seasonality: The Case of the Hollywood Film Industry |
| Make No Little Plans: The Modern Wing of the Art Institute of Chicago |
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| Communication Strategies to Enhance the Effectiveness of Product Placement in Movies: The Case of Comparative Appeal |
| Gabriel García Márquez and the Foundation for a New Ibero-American Journalism |
| Loyalty Behaviours and Segmentation of Performing Arts Audiences: The Case of Théâtre de l’Athénée in Paris |
| The Manifestation of Market Orientation and Its Antecedents in the Program Planning of Arts Organizations |
| Web Strategies and the Performing Arts: A Solution to Difficult Brands |
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| Art Collections as a Strategy Tool: A Typology Based on the Belgian Financial Sector |
| Evolution of Arts and Cultural Management Research Over the First Ten AIMAC Conferences (1991–2009) |
| Individual Giving to Support Cultural Heritage |
| Measuring National-Level Cultural Capacity With the National Arts Index |
| Staging Magic: Forty Years of Product Management at Théâtre Sans Fil |
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| A Conceptual Framework for Studying Succession in Artistic and Administrative Leadership in the Cultural Sector |
| Can the Generation Gap Impede Immersion in an Exhibition? The Case of Annisettanta (The 1970s) |
| Measuring Museum Service Quality in Relationship to Visitor Membership: The Case of a Children’s Museum |
| Portrait of a Star: National Gallery of Victoria |
| The Influence of Messages and Benefits on Donors’ Attributed Motivations: Findings of a Study With 14 American Performing Arts Presenters |
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| A Taste of What’s to Come: The Appetitive Value of Sequential Product Launches |
| Museums as Serigraphs or Unique Masterpieces: Do American Art Museums Display Differentiation in Their Mission Statements? |
| Orchestre Symphonique de Montréal: Getting Back in the Limelight |
| Paradox in the Worlds of Art: Socio-economic Stability and Organizational Multiplicity |
| The Art of Leadership: An Evolutionary Perspective |
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| A Ticket to Wonderland: Lookingglass Theatre Weathers the Recession With Clever Pricing |
| Developing a Scale to Measure Service Quality: An Exploratory Study |
| Strategic Plans in Arts Organizations: A Tool of Compromise Between Artistic and Managerial Values |
| The Design, Implementation and Management of Social Alliances for Arts- and Culture-Oriented Organizations |
| The Logic of Evaluation and Not-for-Profit Arts Organizations: The Perspective of an Evaluation Consultant |
| The Long Tail: Myth or Reality? |
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| Building an Arts-Business Partnership: The Case of Aeroplan and Tapestry New Opera |
| German Artists Between Bohemian Idealism and Entrepreneurial Dynamics: Reflections on Cultural Entrepreneurship and the Need for Start-Up Management |
| Integrating Heritage Management and Tourism at Italian Cultural Destinations |
| The Triple Challenge of La Folle Journée de Nantes, or How to Make a Success of Folly |
| Value Drivers for Cultural Events: Empirical Evidence From Italy |
| What Future for Fan-Funded Labels in the Music Recording Industry? The Cases of MyMajorCompany and ArtistShare |
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| Aesthetic Relations in Place of the Lone Hero in Arts Leadership: Examples from Film Making and Orchestral Performance |
| Beyond Branding: Contemporary Marketing Challenges for Arts Organizations |
| Customer Identification and Retention: The Determinants of Intention to Re-patronize in the Film Industry |
| Internationalization of the Production Process in the US Film Industry: The Case of the United Kingdom |
| Opéra de Montréal: An Inspiring Turnaround |
| Talking Theatre Is More Than a Test Drive: Two Audience Development Methodologies Under Review |
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| Brand Orientation of Museums: Model and Empirical Results |
| Consumer Attitudes Towards Music Piracy: A Spanish Case Study |
| “I’d Rather Play Than Look at Statues”: The Experiences of Children With Art Works and Interactive Devices at an Art Exhibition |
| Managing Cultural Events and Meetings Activities in European Urban Destinations |
| The Audience Experience: Measuring Quality in the Performing Arts |
| The Renaissance of the Royal Ontario Museum: Architecture Meets Experiential Marketing |
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| Exploring the Place of Museums in European Leisure Markets: An Approach Based on Consumer Values |
| Performance Measurement in the Arts Sector: The Case of the Performing Arts |
| Performance Measurement of Heritage Conservation Activity in Sicily |
| The National Arts Centre: An Institution Unique in North America |
| The Process of Historic Evolution of Organizational Fields: An Analysis of Museums and Theatres in Southern and Northeastern Brazil |
| Use of the Balanced Scorecard and Performance Metrics to Achieve Operational and Strategic Alignment in Arts and Culture Not-for-Profits |
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| Conceptualizing and Measuring the Perceived Value of an Arts Venue as Applied to Live Performance |
| Creative Industries: The Business of Definition and Cultural Management Practice |
| Creative Process as Strategic Alliance |
| Do Immersive Technologies Add Value to the Museumgoing Experience? An Exploratory Study Conducted at France’s Paléosite |
| Management of the Client Relationship in Museums: Development of a Mobile Telephone Application (SMS) |
| Richard Monette, Antoni Cimolino and the Stratford Shakespeare Festival: The King and the Dauphin |
| Using “Values” to Position and Promote Museums |
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| Academic Assessment of Arts Management Journals: A Multidimensional Rating Survey |
| Gran Teatre del Liceu: Rising from the Ashes |
| Performance Measurement in Opera Companies: Comparing the Subjective Quality Judgements of Experts and Non-experts |
| Personal Time and Social Time: Their Role in Live Performance Attendance |
| Positioning Strategies of Cultural Institutions: A Renewal of the Offer in the Face of Shifting Consumer Trends |
| The Personality of Performing Arts Venues: Developing a Measurement Scale |
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| Admission Charges and Public Museums |
| Developing a Conceptual Model for Repurchase Intention in the Performing Arts: The Roles of Emotion, Core Service and Service Delivery |
| Financial Crises in the Arts Sector: Is Governance the Illness or the Cure? |
| Hitting a High Note: The Chicago Symphony Orchestra Reverses a Decade of Decline with New Programs, New Services and New Prices |
| Investing in Art Movements: The Case of Surrealist Paintings |
| The Influence of Market and Product Orientation on Museum Performance |
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| Bullying in Theatres and Arts Centres in the United Kingdom |
| Effects of Country-Genre Congruence on the Evaluation of Movies: The Moderating Role of Critical Reviews and Moviegoers’ Prior Knowledge |
| Governance of Major Cultural Institutions: The Case of the Paris Opera |
| Mikhaïl Piotrovsky and the State Hermitage Museum |
| The Influence of Embeddedness and Social Mechanisms on Organizational Performance in the Music Industry: The Case of Mescal Music |
| The Role of the Corporate Art Collection in Corporate Identity Management: The Case of Deutsche Bank |
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| A Quiet Revolution: The Metropolitan Opera Reinvents Client Relations Management |
| How Visual Artists Enter the Contemporary Art Market in France: A Dynamic Approach Based on a Network of Tests |
| Sounding Boards: Performing Arts Organizations and the Internet Forum |
| The Programming Strategies and Relationships of Theatres: An Analysis Based on the French Experience |
| The Success of Finnish Conductors: Grand Narratives and Small Stories about Global Leadership |
| Use of Baldrige Assessment Techniques in Strategic Planning and Assessment for Arts Administration in Higher Education |
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| A Scale for Measuring Aesthetic Style in the Field of Luxury and Art Products |
| Karen Kain and the National Ballet of Canada |
| Letting Go of the Reins: Paradoxes and Puzzles in Leading an Artistic Enterprise |
| The Futurist Stance of Historical Societies: An Analysis of Position Statements |
| Volunteer Management in Arts Organizations: A Case Study and Managerial Implications |
| Why Occasional Theatregoers in France Do Not Become Subscribers |
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| An Experiential Approach to the Consumption Value of Arts and Culture: The Case of Museums and Monuments |
| Dual Leadership as a Problem-Solving Tool in Arts Organizations |
| Event Preferences among Arts Patrons: Implications for Market Segmentation and Arts Management |
| From Bankruptcy to Sustainability: Stakeholder Engagement and Strategic Renewal in a Performing Arts Organization |
| The French Poetry Economy |
| Working Title Films, Independent Producer: Internationalization of the Film Industry |
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| Born to Be Wise: The Steppenwolf Theatre Company Mixes Freedom with Management Savvy |
| Institutional Change in Italian Museums: Does the Museum Director Have a Role to Play? |
| Life after Dance: Career Transition of Professional Dancers |
| Measuring Audience Addiction to the Arts: The Case of an Italian Theatre |
| Positioning the Supply of Live Performance: Innovative Managerial Practices Relating to the Interaction of Spectator, Performance and Venue |
| The Role of Media Critics in the Cultural Industries |
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| Classification of Popular Music Festivals: A Typology of Festivals and an Inquiry into Their Role in the Construction of Music Genres |
| “Friends” Schemes in Arts Marketing: Developing Relationships in British Provincial Theatres |
| Martin Revheim, Blå and the Kongsberg Jazz Festival: Suksess Need Not Be Translated |
| Take Me Out to the Opera: Are Sports and Arts Complements? Evidence from the Performing Arts Research Coalition Data |
| The Personality of Cultural Festivals: Scale Development and Applications |
| Tourists’ Knowledge of the UNESCO Designation of World Heritage Sites: The Case of Visitors to Quebec City |
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| Consumer Perception of Private Versus Public Sponsorship of the Arts |
| Entertainment Pirates: Determinants of Piracy in the Software, Music and Movie Industries |
| Jacques Matte and the Festival du Cinéma International en Abitibi-Témiscamingue |
| Structure of the Contemporary Art Market and the Profile of Italian Artists |
| Systemic Capacity Building in Cultural Administration |
| The Importance of Accuracy in Attendance Reporting |
| The Performing Arts Value Chain |
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| Accounting for New Technology in Museum Exhibitions |
| Managing as Creating |
| Moviegoers’ Consultation of Film Reviews in the Search for Information: A Multi-country Study |
| Much Ado About Management: Managerial Rhetoric in the Transformation of Italian Opera Houses |
| Strategic Positioning of the Venice Biennial: Analysing the Market for Periodic Contemporary Art Exhibitions |
| The Piccolo Teatro of Milan: Theatre of Europe |
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| Accounting Fraud at Live Entertainment Canada, Incorporated, 1993-98 |
| Can the Knowledge-Creation Process Be Managed? A Case Study of an Artist Training Project |
| Moviegoing Frequency Among Dutch Consumers: Interaction Between Audiences and Market Factors |
| The Impact of Privatization on Museum Admission Charges: A Case Study from Taiwan |
| The Impact of Service Elements on the Artistic Experience: The Case of Classical Music Concerts |
| Tony Hall and the Royal Opera House, Covent Garden |
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| Arts, Culture and Business: A Relationship Transformation, a Nascent Field |
| Fiction Readers’ Appreciation of Text Attributes in Literary and Popular Novels: Some Empirical Findings |
| Glenn D. Lowry and MoMA |
| Is It Time to Call in an Architect? Perhaps Not Yet |
| Motivation, Ability and Opportunity to Participate: A Reconceptualization of the RAND Model of Audience Development |
| The Entrepreneurial Artist as Marketer: Drawing from the Smaller-Firm Literature |
| The Olympics in Australia: Museums Meet Mega and Hallmark Events |
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| And the Band Played On: Professional Musicians in Military and Service Bands |
| Earmarked Taxes for the Arts: US Experience and Policy Implications |
| From Arts Management to Cultural Administration |
| Klaus Zehelein and the Stuttgart State Opera: When Tradition and Innovation Go Hand in Hand |
| Raising Private Investment Funds for Museums |
| The Release of “Greatest Hits” in the Italian Recording Industry: An Empirical Analysis of Strategies and Timing |
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| Consumer Satisfaction and Post-purchase Intentions: An Exploratory Study of Museum Visitors |
| Fanny Mikey and the Ibero-American Theatre Festival of Bogotá |
| Haves and Have-Nots: Investment Capital among Performing Arts Presenters in the United States |
| Marketing Management in Cultural Organizations: A Case Study of Catalan Museums |
| Organizational Structure of Russian State Museums: Recent Innovations |
| The Art of Reflective Management: Dramatic Insights from Scottish Community Theatre |
| The Social Production of Creative Products in the Television and Film Industry |
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| Achieving Community Ownership: The Case of a Regional Symphony Orchestra |
| Entrepreneurship and Leadership in Marketing the Arts |
| Measuring Museum Performance: A Study of Museums in France and the United States |
| Museum and Theatre Networks in Italy: Determinants and Typology |
| Promotion of Cultural Events Through Urban Postering: An Exploratory Study of Its Effectiveness |
| Toronto’s Roy Thomson Hall: A Metamorphosis |
| Zarin Mehta and the New York Philharmonic |
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| Applying New Product Development Models to the Performing Arts: Strategies for Managing Risk |
| Investigating the Role of Companions in the Art Museum Experience |
| Managing the New York Philharmonic in Today’s World |
| The Pittsburgh Ballet: Maintaining the Mission During Turbulent Times |
| The Role of Cultural Capital in Performing Arts Patronage |
| The Significance of European “Capital of Culture” for Tourism and Culture: The Case of Kraków 2000 |
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| Developing Arts Management Skills in Transitional Democracies |
| Employment in the Cultural Sector: The United Kingdom in the Late 1990s |
| Leaders in Museums: Entrepreneurs or Role Models? |
| Museums: Challenges for the 21st Century |
| Partnerships of Orchestras: Towards Shared Leadership |
| The Sydney Opera House: An Australian Icon |
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| Moviegoers’ Consultation of Critical Reviews: Psychological Antecedents and Consequences |
| Museums: Discovering Services Marketing |
| Reality Check: Time for a Period of “Creative Consolidation” |
| San Francisco’s Chanticleer: An American Tale of A Cappella Perfection and “Policy Governance” |
| Social Intervention or Market Intervention? A Problem for Governments in Promoting the Value of the Arts |
| Ticket Sales Forecasting Methods and Performance of UK Theatre Companies |
| What Makes an Arts Capital? Quantifying a City’s Cultural Environment |
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| Evaluating Performing Arts Audience Overlap |
| External Search Behaviour in Cultural Product Markets: A Study of Readers of Fiction |
| Learning and Leadership: Cultural Change at the Sydney Opera House |
| Organizational Saga of a Superstar Museum: The Louvre |
| Relationship Marketing as a Paradigm for Festivals: A Case Study of the Francofolies of La Rochelle, France |
| Situation Drama in Change Management: Types and Effects of a New Managerial Tool |
| Strategic Management and Cultural Heritage Sites: New Entrepreneurial Challenges for Private Owners of Castles and Stately Homes |
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| Are Two Heads Better Than One? |
| Australian Philanthropy and the Arts: How Does It Compare? |
| Contemporary Art Markets – Structure and Actors: A Study of Art Galleries in Finland, Sweden, France and Great Britain |
| Cultural Identity and Tourism |
| The Comédie-Française: The Jean-Pierre Miquel Era, 1993–2001 |
| The Shift in Cultural Management from Government Agencies to Not-for-Profit Organizations: An Italian Case Study |
| Tourist Apprehension of Heritage: A Semiotic Approach to Behaviour Patterns |
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| Guy Latraverse and Show Business: A Story of Successful Co-management |
| Laboratory for Change: mak.frankfurt as Argument, Experiment and Example |
| Management Control and Museums |
| The Community Role and Management of a Not-For-Profit Music Centre |
| The Evaluation of Social Objectives in Cultural Organizations |
| The Quest for El Dorado: Funding the Arts in Latin America |
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| Is Creativity a Matter for Cultural Leaders? |
| Leadership and Arts Management |
| Managing Innovation in the Arts: Preserving Environmental Uncertainty – The Case of Druid Theatre Company, Ireland |
| Multimedia Giants, Literary Publishers and New Technologies: Can Culture and Business Benefit from the Change of Rules in the Book World? |
| Quis custodiet? Or Managing the Management: The Case of the Royal Opera House, Covent Garden |
| Tokyo Philharmonic and Japan Shinsei Symphony: Creating Change for Professional Survival in Today’s Japan |
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| Critical Opinion as a Tool in the Marketing of Cultural Products: The Experiential Label |
| Cultural Districts and Urban Development |
| John R. Porter and the Musée du Québec |
| Lead User Influence on New Product Development Decisions of UK Theatre Companies: An Empirical Study |
| Measuring Satisfaction Among Festivalgoers: Differences Between Tourists and Residents as Visitors to a Music Festival in an Urban Environment |
| Privately Held and Managing Well: The English Chamber Orchestra at 40 |
| The Decline of the Subscriber Base: A Study of the Philharmonia Orchestra Audience |
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| Evaluating Consumer Behaviour in the Field of Arts and Culture Marketing |
| Exploring the Impact of Organizational Values and Strategic Orientation on Performance in Not-for-Profit Professional Theatre |
| International Marketing of Canadian Television Programs: Industry Players, Export Successes and Strategic Challenges |
| Mystery Visitors in Museums: An Underused and Underestimated Tool for Testing Visitor Services |
| The UK National Lottery and the Arts: Reflections on the Lottery’s Impact and Development |
| The Wheel of History – A Relinquishing of City Council Cultural Control and the Freedom to Manage: Sheffield Galleries and Museums Trust |
| Using an Integrated Ticket Donation Program to Increase Subscription Sales and Reach Underserved Markets: A Strategic Marketing Approach |
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| Branding: Positioning Museums in the 21st Century |
| Grouping Performing Arts Consumers According to Attendance Goals |
| Marketing Management in Arts Organizations: Differentiating Arts and Culture Volunteers from Other Volunteers |
| Skills and Roles: Concepts of Modern Arts Management |
| The Australian Ballet – A Spirit of Its Own |
| The Emergence of Museum Brands |
| What Role for Marketing in the Arts? An Analysis of Arts Consumption and Artistic Value |
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| Arts Management: A New Discipline Entering the Millennium? |
| Courting the Media: How the 1998 Spoleto Festival USA Attracted Media Coverage |
| General and Specific Issues in Russian Theatre |
| Governance in the Movie Industry: Alternatives to Hollywood |
| Outsourcing in Museums |
| Rotterdam 2001: Creating More Cultural Capital than it Costs |
| The Learning Cultural Organization of the Millennium: Performance Measures and Audience Response |
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| Achieving Stability and Success in Crowded Markets: The Case of Tafelmusik |
| An Exploration of Management Control in the Arts and Cultural Sector |
| Cultural Patronage in the United States |
| Measuring the Performance of Cultural Organizations: A Model |
| Sponsorship in France |
| The Creation and Development of Cultural Organizations: Towards a Modelling of the Process |
| Unlocking Art Museum Management: Myths and Realities for Contemporary Times |
| Variations on a Music Director |
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| A Code of Practice for the Maintenance of Public Art |
| Authors’ Rights and Distribution Channels: An Attempt to Model Remuneration Structures |
| Interest-Based Negotiations – A New Approach to Bargaining in the Arts |
| Shaken and Stirred: Arts Organizations Reacting to Radical Environmental Change |
| The Conjoint Analysis as an Instrument for Marketing Controlling, Taking a Public Theatre as an Example |
| The Ravinia Festival Under the Direction of Zarin Mehta |
| The Transformation of Cultural Organizations: Applications of a Model |
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| A Challenge to Cultural Sector Management Conventions: The Royal Armouries Museum |
| A Model for Measuring the Goals of Theatre Attendance |
| Defining Art. From the Brancusi Trial to the Economics of Artistic Semiotic Goods |
| Defining the Domain of a Public Library |
| Factors Influencing Subscription and Single-Ticket Purchases at Performing Arts Organizations |
| Managing Non-Profit Arts Organizations Through Management Accounting Systems: Mission Possible? |
| Seven Years of Change and No End in Sight: Reflections from the Glenbow Museum |
| Toward a Culture of Shared Resources: Building an Environment for the Long-Term Sustainability of the Arts – The Arts in Transition Project |
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| Classical Music Concerts Can Be Fun: The Success of BBC Proms |
| Corporate Identity in Museums: An Exploratory Study |
| Corporate Research and Venture Capital Models for the Arts |
| Creative Management – Focus on the Creative Collaboration |
| Managing the Culture Labour Force in the 21st Century |
| Reputation as a Tool for Innovation Management: The Case of the French Impressionists |
| The Development of Museum Training in the United Kingdom |
| The Importance of Ticket Prices for Theatre Patrons |
