Dissertations / Theses on the topic 'Art management'

Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.

The purpose of this dissertation is to develop explanatory theory for the learning processes facilitated by art-­‐based methods in management education (ABMs). Such theory is important because managerial educators increasingly use ABMs, and without a well-­‐developed theory it may be difficult to realise these methods’ full potential. Current research on ABMs uses theories from other fields but generally sees ABMs as methods for making important information available for reflection, e.g. information about unconscious assumptions, aesthetic experience, or non-­‐propositional or tacit knowledge. This shows that the field is grounded in a representationalist view of cognition. This view of cognition makes it difficult to explain certain themes in the research field, such as, the importance of staying with the senses without reflecting, aesthetic agency, and the process of making. I therefore asked: What insights can be gained from exploring ABMs, using theories grounded in the embodied view of cognition, in particular Conceptual Metaphor Theory (CMT) (Lakoff & Johnson, 1999) and simulation theories (Barsalou, 2008). For the empirical work, I used an experimental design with 60 managers from Danish companies. All participants selected problems from their work they perceived as important, yet unsolvable. They were randomly divided into three groups: Two groups using different ABMs to address problems and a comparison group where no ABM was used. The experiment indicated that 1) creating new metaphors for a problem based on different sensory metaphors enabled the participants to import behaviour from contexts unrelated to the problematic situation, and 2) focusing on sensory experience enabled participants to remove judgments about self or others. Furthermore, the experiment indicated that learning outcomes reflected participants’ experience of the concrete learning intervention. These findings contribute to CMT by suggesting that it is possible to formulate relationships between changes in metaphors and specific learning outcomes. They contribute to ABM by suggesting that experiences that participants have during ABMs are later used as tools for structuring other experiences – not merely as data for reflection.<br>ESRC (Economic and Social Research Council)

The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.

Digital advances and consumers' buying behaviors disrupt the retail industry demanding more seamless experiences during their buys. In response, retailers are adopting an omnichannel retailing strategy (OCR), which is the integration of retailers' physical and digital channels. However, OCR is a premature concept, and there is still a lack of research in the subject, which limits the guidance for its practical application. Thus, there is still the need to understand the subject.  For OCR managers, it is necessary to understand the main challenges in order to orchestrate it better. Therefore, this research undertakes the task to study the factors that challenge OCR's orchestration, from a managerial perspective. The research departs from primary and secondary data that was later categorized according to its main factor and incorporated into an existing analytical framework of OCR. The findings indicate three main challenge groups that could hinder an orchestrator's impact on the organization. Those are particular capabilities for the OCR, the integration of channels, and technology and data leverage.<br>Los avances digitales y los comportamientos de compra de los consumidores perturban la industria minorista demandando experiencias más fluidas durante sus compras. En respuesta, las empresas están adoptando una estrategia de omnicanal (OCR – omnichannel retailing), que es la integración de los canales físicos y digitales de los minoristas. Sin embargo, OCR es un concepto prematuro, y todavía hay una falta de investigación en el tema, lo que limita la guía para su aplicación práctica. Por lo tanto, todavía existe la necesidad de comprender el tema.  Para los gerentes de OCR es importante comprender los principales desafíos para una mejor organización. Por lo tanto, esta investigación emprende la tarea de estudiar los factores que desafían la orquestación del omnicanal de minoristas (OCR), desde una perspectiva gerencial. La investigación parte de datos primarios y secundarios que luego se categorizaron según su factor principal y se incorporaron a un marco analítico existente de OCR. Los resultados indican tres grupos principales de desafíos que podrían dificultar el impacto de un orquestador en la organización. Esos son las capacidades particulares para el OCR, la integración de canales, y el apalancamiento de tecnología y datos.

Bibliography: pages 247-263.<br>The dissertation begins with an historical overview of aspects of the Western art market, and continues with a discussion of financial and economic aspects of the art market. Throughout the factors and intermediaries that come into play in the determination of economic value and the price of exchange are considered. There are two common threads to the dissertation in relation to both art history and financial theory: firstly, the analysis of the role of intermediaries and institutions; and secondly, the valuation of art works in relation to the Components of Value of art works. In the Introduction the concept of intermediation in the context of the art market is discussed, as is the financial and economic definition of an art work. The historical overview that follows is a descriptive analysis of the various support systems and intermediaries in the Western art market from the Renaissance through to the late twentieth century, the guilds, patrons, academies, and dealers, that have and still do function as intermediaries to expedite the transfer of works of art in primary and secondary markets. Five art markets have been selected to provide an historical overview of the structure and functioning of the Western art market. These are Italy in the fourteenth, fifteenth, and sixteenth centuries [Chapter One]; the Low Countries in the sixteenth and seventeenth centuries [Chapter Two]; England from the seventeenth through to the late nineteenth centuries [Chapter Three]; France from the seventeenth to the early twentieth centuries [Chapter Four]; and the U.S.A. in the late nineteenth and the twentieth centuries [Chapter Five]. These periods and geographical locations have been chosen to draw attention to the historical shifts in the structure and functioning in the art market. In Chapter Six the Components of Value of art works through history and in the art market of recent years are analysed. The Components of Value are those factors, aesthetic, historical, economic, and otherwise that, depending on the art work and period in which it is exchanged, influence the economic value of art works. This chapter then considers in detail the range of Components of Value that each contribute in a different manner to the price of exchange. The concluding chapter provides an analysis of the 'supply' of art works in. terms of the suppliers, the artists; and the demand, the consumers; and the linking of the supply and demand by art market intermediaries in terms of the Components of Value.

<p> &ldquo;The Art of Information Management&rdquo; explores the ways that information technologies influence thought and take shape in imaginative works of literature at the turn of the seventeenth century in early modern England, from 1580 to 1605. Imaginative literature becomes a space for articulating the challenges presented by discourses perceived to have been unalterably expanded and amplified through technology, as well for experimenting with strategies to respond to those challenges.</p><p> Drawing on studies of early modern Materialism, New Historicism, Literary History, Digital Humanities, and Media Archeology, this project seeks to move the understanding of the role information technologies as agents of change forward by relocating debates concerning technology to the spaces imagined in early modern English literature of the fantastic: Thomas Nashe&rsquo;s multi-modal London and ocean-sanctuary Yarmouth, Edmund Spenser&rsquo;s Faery Land, William Shakespeare and Robert Armin&rsquo;s holiday Kingdom of Illyria, and Samuel Daniel&rsquo;s pastoral Arcadia. In each imagined space, this project looks at the printing press and beyond to attendant technologies in order to develop a better understand of the period&rsquo;s relationship to our own. </p><p> The works considered here expose a moment of feverish innovation with regard to the rhetorical construction of authenticity, political expression, and right behavior. The first two chapters argue that the writings of Thomas Nashe and Edmund Spenser reflect a heightened sensitivity to the speed and timings associated with technologically-mediated discourse. The final two chapters examine the efforts of William Shakespeare, Robert Armin, and Samuel Daniel, as they sort through the solidifying perception of discourse structures outpacing traditional modes of thought and learning.</p>

International Telemetering Conference Proceedings / October 22-25, 2001 / Riviera Hotel and Convention Center, Las Vegas, Nevada<br>The technicalities of sharing telemetry bandwidth have been addressed in design and specification for the builders of the International Space Station. But success in sharing bandwidth comes from building relationships, documenting guidelines, negotiating, understanding human nature, peer review and willingness to participate in an evolving process. The station, 240 miles above Earth, moves through space at 17,000 mph, has its mass added to by humans and machines, regularly docks with visiting spacecraft, has year-round residents, and communicates with space agencies around the globe. Each new module -- with associated computers, multiplexers, and communications buses -- creates additional telemetry demands.

This internship report is the result of my time working with the registration and collections departments at the New Orleans Museum of Art. My work consisted of receiving, inventorying and moving objects in the collection, answering inquiries related to the collection, assisting with installations and breakdowns of exhibitions, and projects related to the collection files. Working from this vantage point, and with numerous other arts community working experience under my belt, I have compiled in this paper a discussion of the museum itself, the internship and my contributions to the organization, and an analysis of the organization and its overall contribution to the community as the largest arts organization in the city of New Orleans. This is my attempt to explain where NOMA is and where NOMA is going.

The following internship report is a documentation of my work with the Ogden Museum of Southern Art from January through April 2013. I worked closely with the Museum departments of Education and Development, as well as the Deputy Director. This report is an analysis of the different business and management methods of the organization and their fidelity to best museum practices. I will analyze the strengths, weaknesses, opportunities and threats of the museum. I will also touch on the recent history of the Museum; what I observed currently; and the direction I see the museum heading in its future.

This internship report documents and outlines my time with the Ogden Museum of Art in New Orleans, Louisiana, from January to May of 2015. It closely outlines the history and structure of the organization, as well as its strengths, weakness, opportunities and threats. This report also includes a detailed description of all tasks and responsibilities assigned to me as an intern, an analysis of its current state, research of best practices in the field, and an educated analysis of its probable trajectory.

The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by various stakeholders and we perceive the idea that multidimensional performance measures could fill the informational gap concerning performance, quality, and the artistic value of cultural programs. The mixed research method was employed in this research. Qualitative data was obtained from the questionnaire and interviews. Quantitative data was obtained from the questionnaire, annual reports and reports of The National Information and Consulting Centre for Culture (NIPOS). The aim of this study is to propose a comprehensive multidimensional model to assess art museum activities. This model takes into account the scope and character of museum´s mission. This model consists of implementation of Data Envelopment Analysis into Balanced Scorecard.

This study is about the economic measurement of contemporary artworks, as set by the international market. It is about the internal forces that influence that value: the subtle interaction between the not-for-profit and profit-making sectors, and critical writing. It is also about the constraints placed on that value by external forces: macroeconomic and political factors and historical issues. The basis for this enquiry is that globalisation is a `reality' and that it is a Western construct. It is also understood that risk is an essential element of globalisation. It follows from this that global economic and political forces have an impact on culture and that a territory's economic and political performance is closely correlated with its cultural performance. As a consequence, territory's contemporary culture can be described economically as underdeveloped, developing or developed. It is accepted that most underdeveloped and developed territories aspire to become developed, and set about doing so by emulating the behaviour and performance of developed territories. So, developing territories experience the impact of global politics and economics and, by implication, culture. A developing society measures its contemporary artwork, therefore, economically, and correlates its value against the Western contemporary artwork. China is a developing nation and, therefore, measures the value of its contemporary artwork economically, using Western contemporary art as its yardstick. The mechanism for measuring value economically is the international market for artworks. The international art market, therefore, measures the value of a contemporary artwork. The value of a contemporary Chinese artwork is measured by the international art market and by local and regional equivalent markets, which emulate the performance of the international market. My study is complicated by the fact that it is a `safari' study (Hantrais, 1996). The region under discussion, Greater China, consists of two territories other than China; the Special Administrative Region of Hong Kong and Taiwan, which are both developed economies. The purpose of this study is to alert the commercial and not-for-profit artworld sectors in Greater China to the crucial role played by the international art market, and its equivalents, in raising the value of contemporary Chinese artworks. The other intention of this study is to raise awareness among the West's commercial and not for- profit sector for the Greater China art market, which remains relatively under exploited.

An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

The following internship report is a reflection of my time spent working at the Ogden Museum of Southern Art from February 2 to June 2, 2015. Since gaining a new Executive Director in 2012, the Museum has gone through a period of rapid change, which resulted in a complete overhaul of staff structure during my tenure. This report will outline the structure of the Museum, discuss the factors that led to it changing, and evaluate its sustainability for the Museum moving forward. It will also discuss the marketing and communications mechanisms in place, with a specific focus on social media, and provide recommendations for improvements in these areas.

The Great Recession dramatically reframed the debate on funding for the arts from a social one to a fiscal one. Instead of social ideology, economics came to the forefront; and fiscal conservatives replaced social conservatives as the loudest voice criticizing government funding for the arts. Under the shadow of an expanding government and staggering national debt, both supporters and critics argue in terms of the economic costs and benefits that the arts impose. These arguments against public funding for the arts are multi-tiered. Critics contend that the government arts agencies are ineffective, that federal arts funding is inefficient, and that government funding as a whole is an unjustified overreach of government. Fiscal conservatives also argue that private philanthropy is sufficient to sustain the arts independently without government involvement. But because public and private funding for the arts respond to recessionary impacts so differently and decreases in private philanthropy impact the arts disproportionately, public arts funding is absolutely justified on an economic basis. With the inclusion of social and political considerations, however, the final conclusion is that neither private nor public funding can or should independently provide a complete solution to the issue.

The following report documents my internship at the Denver Art Museum from June to August 2013 in Denver, Colorado. This report is a result of my work with the multiple divisions in the Education Department. I worked in depth with a variety of programs, which facilitated and encouraged new and exciting methods of education to a wide range of audiences. This report will be an in depth examination of the effectiveness of interactive educational programing by first discussing the goals and purposes of each one. There will then be an explanation of the intern’s responsibilities and observations within the department. This will include the internal strengths and weakness of the education department as well as the external opportunities and threats. The report will conclude with best practices observed, recommendations for improvement and final thoughts regarding the Denver Art Museum’s education department.

Thesis: Ph. D., Massachusetts Institute of Technology, Sloan School of Management, May, 2020<br>Page 115 blank. Cataloged from PDF version of thesis.<br>Includes bibliographical references.<br>The first essay draws on 18 months of ethnographic fieldwork to examine the puzzle of why galleries discipline collectors --<br>who provide much-needed financial capital - for appearing too motivated by profit. Whilst art worlds have strong norms that enjoin artists to avoid the naked pursuit of profit and instead affect an air of "disinterestedness" (that is, a concern only for universal virtues and aesthetic qualities such as truth and beauty), why might art dealers demand that collectors similarly conform to such norms? This study addresses how (and why) galleries enforce conformity to the art-world norm of disinterestedness among collectors as part of an array of tactics they deploy to "protect" their artists from price volatility that could depress demand for the artist's work. The findings suggests a paradoxical resolution. Although galleries framed such discipline as a moral imperative, a key implication of this study is that enforcing a norm that disavows extrinsic rewards such as fortune and fame ultimately supports a profitable business and investment strategy.<br>The second essay (coauthored with Ezra W. Zuckerman Sivan) also draws on an 18-month ethnographic investigation examining the rise and proliferation of International Art Fairs (IAFs) in the global art market. This study contributes to our understanding of how the construction and extension of market platforms shapes market dynamics. On the surface, the explosive growth of IAFs in the contemporary art market reflects the greater efficiency that market platforms typically offer, both for facilitating exchange and for expanding access. But past research on market construction does not prepare us for either of the two main findings of this paper. The first is that market participants (and especially the mid-size galleries that dominate the fairs) are deeply ambivalent about the fairs' value relative to the cost of participation. The second main finding -- that galleries (and others) believe they must participate in order to be visible in the market --<br>affords insight into how markets vary in their visibility and opacity; how such variation shapes status competition; and how markets that are designed to increase efficiency may<br>by James Whitcomb Riley.<br>Ph. D.<br>Ph.D. Massachusetts Institute of Technology, Sloan School of Management

This thesis is an examination of the complex relationship between a broadly defined art market and the British State. it is an examination of the visual arts economy within a British market economy. It demonstrates the state's failure to support and improve this economy even as it declares such a commitment. For the sake of the visual arts and the national economy, an alternative to the Orthodoxy of the State is argued and mechanism for its achievement proposed. This has required me to to reveal and question some firmly held attitudes and beliefs about art, artists, connoisseurs and public good. Although they constitute a comfortable notion of patronage for a minority, these contemporary notions of art, artist and connoisseur contribute to a decidedly uncomfortable economy for the majority.

Nowadays, there is a growing need to consider crisis management in organizations due to an increased occurrence of crises in our society. Manufacturing organizations are often affected by crises due to their supply chain reliance and many small-medium sized enterprises (SMEs) do not have the resources to work with crisis management. There is an identified lack of research regarding how manufacturing SMEs work with crisis management and how the particularities of the manufacturing industry and the specific characteristics and reliance of resources of SMEs can affect crisis management. The purpose of this thesis is to increase the understanding of strategic crisis management in manufacturing SMEs. The thesis outlines different strategic crisis management models which includes the crisis processes of detection, occurrence, and recovery. To understand the practices of manufacturing SMEs, a qualitative study was conducted through 8 eight semi-structured interviews with respondents from Sweden and Switzerland. The thesis discuss the findings of the crisis management carried out by the manufacturing SMEs and existing crisis management models for SMEs and Chinese large- and medium-sized manufacturing enterprises (CLMMEs). The paper concludes that manufacturing SMEs are affected economically by the Covid-19 pandemic crisis. The most common impacts include a decrease in orders and delivery delays. Furthermore, the research provides a contribution to the understanding of how manufacturing SMEs deal and work with crises. The most identified practices were market diversification, active communication with stakeholders, cost reduction and crisis recap.Findings also showed that manufacturing SMEs worked with pre-event planning as an essential part of their crisis management. The paper further proposes a strategic crisis management model for manufacturing SMEs.

The landscape of contemporary art in New Orleans is a challenging one, and in relative infancy. U.S. Biennial, Inc. immediately following Hurricane Katrina saw an opportunity to merge this burgeoning scene with the well-established tourism industry. As a result, the Prospect New Orleans biennials are an attempt to increase cultural tourism through the presentation of international contemporary art exhibitions. Audience engagement is a current hot topic for arts organizations of all kinds. Concerns over sustainability and community relevance have led many arts organizations to deeply examine who their targeted audiences are and how they are engaging those audiences. While U.S. Biennial, Inc. and the Prospect New Orleans biennials are primarily ventures to increase cultural tourism in the Greater New Orleans area, there is still a need to cultivate and maintain local audience engagement. This report examines how Prospect.2, the third iteration of the Prospect New Orleans biennials, attempted to both draw tourists to the area through contemporary art while also engaging local audiences in educational and public programming.

Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2013.<br>Page 55 blank. Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 44-47).<br>This study focuses on how entrepreneurs can optimize the venture capital procurement process by understanding the venture investment decision-making process. For new ventures, procuring capital is a notoriously difficult process. To succeed, an entrepreneurial team must overcome investor uncertainty about the quality of their product/service/idea and market, as well as their own capability to execute. This thesis puts forward the hypothesis that there are multiple venture investor "types," or "personalities," defined by the way in which they weight the importance of product/idea/service/market (horse) vs. entrepreneurial team (jockey) during the decision-making process. Therefore, an entrepreneurial team should match the strengths of their business with the right investor type to maximize chances for funding. To test this hypothesis, we ran an empirical study which mimicked the first two stages of the venture investment process - executive summary review and entrepreneurial pitch assessment. The experimental results suggest that investors do seem to report varied preferences on the importance of "horse" vs. "jockey." In addition, investor personality may dictate decision-making at the executive summary stage. However, the overall quality of a business' pitch can have significant influence on investor opinion and "willingness to invest" regardless of investor personality.<br>by Alexander Williams.<br>S.M.

The internship report that follows this is the result of my time interning with the New Orleans Museum of Art. During my time at NOMA I had the unique opportunity to work with both the department of Interpretation and Audience Engagement and the department of External Affairs. Through this duel departmental internship at the Museum I began to understand the history of the Museum where it came from and what makes NOMA the institution it is today. Throughout the country museums and cultural institutions are having to adapt to today’s arts economy. Meaning institutions must become adaptable, transparent, and more engaged with their communities. This report is my attempt to delineate ways in which NOMA much like the city of New Orleans can become a truly unique institution through community engagement.

This report outlines my experiences and observations the New Orleans Museum of Art (NOMA). It will focus on a brief history of expansion through size and collections, attempts to garner a younger audience through new tactics, and will analyze the Museum’s strengths, weaknesses, opportunities, and threats. I will address the ways that staff members are adapting to help secure NOMA’s relevancy as a modern and forward thinking non-profit who is actively trying to grow its youth membership. I will primarily focus on the efforts of the External Affairs department to refine its long and short-term goals that include creating better alliances with other museums and cultural organizations within the community and revamping their fundraising events to appeal to a wider audience. In the conclusion of this report, I will present my recommendations to address some of the shortcomings I observed while working at the Museum.

This thesis is an anthropological inquiry into how art comes to be made in and about forests, and how forestry, art practice and anthropology could be mutually enriched. Drawing primarily on more than two years of fieldwork (2009 - 2012) it examines some of the overlapping interrelationships that emerge through working in the interstices between art and forestry in Scotland, by paying attention to the grounds of artists' and foresters' interests and practices as they operate in specific instances. This thesis also investigates pertinent aspects of forestry management such as forest design and landscape planning, as well as foresters' approaches to interpretation and the role of art in the context of public forestry in Scotland, considering the contemporary issues for the 'multi-purpose' management of such complex ecological and social systems. The points of intersection between the fields of art and forestry are axiological as well as practical. This thesis explores diverse ways of working in as well as with art and forestry, that in different ways are concerned with questions of agency, ethics, and aesthetics, ways of seeing, materials and material processes. It reviews different approaches to art, from more traditional examples of permanent sculptural works commissioned for public forests, to projects by artists whose work engages explicitly with the ethics and politics of working forests, and with people, as well as aspects of forestry management as I mention above. Moreover, my research also explores some of the correspondences between art and anthropology, and works towards one way of doing anthropology 'with' art rather than an anthropology 'of' art. This is revealed in correspondences between art and anthropology, which this thesis explores through practical and conversational experiments that chime with skilled ways of working in both art and forestry. While critical of the apocalyptic visions and utopian politics that often accompany ecological thinking, this thesis is correspondent with forms of contemporary ecological art praxis. The research is offered as a contribution to such ways of working, which reveal the interweaving political, philosophical and ethical implications of ecological perspectives.

<p> This study is a qualitative, exploratory examination of the phenomena of humor in the workplace. The purpose is to derive a better understanding of how real people enact humor in the workplace by examining the humor depicted by and through fictional characters in comic art. The body of work of cartoonist, Scott Adams, was the primary source of data. The study relies on what the imaginary characters of <i>Dilbert</i> find absurd, funny, and ridiculous about an imaginary workplace, the employee-employer relationship, the content of the characters' jobs, or in the social relationships of fictional characters. It involves analyzing specific cultural artifacts, comic strips, as representations of human action. </p><p> Utilizing qualitative media analytical techniques, the study explores ethnographic materials (comic strips). A random sample from the universe of <i> Dilbert</i> strips was developed and theoretical sampling was used to discern the identities and personality traits of the main characters. Emergent groupings and themes were developed by repeatedly interacting with the data, reflection, extensive note taking and exploring patterns. The research question is answered from within a framework of comic art of the workplace using descriptive language that is informed by theories of humor. </p><p> The idea of presence in mediated communication is discussed and the significant themes of ridicule and disparagement theory are explicated. Key findings include the assertion that, in some cases comic plausibly serves as a proxy for reality as well as the implication that ridicule but plays a significant but inadequately understood role in social development. The researcher proposes that humor may be understood as mythopoeic language. </p><p> Recommendations for directions in future research include management and organizational studies of humor and communities of practice, learning and development, sensemaking and organizational culture. Further investigation into the relationship between ridicule and bullying could be fruitful. Qualitative media analysis has the potential to produce enormous gains in knowledge creation. </p>

<p> In this thesis, I examine how digital technology can benefit recording and interpretation methodology for archaeological rock art sites. The thesis is based on data collected at Walnut Canyon National Monument during a summer internship at the Flagstaff Area National Monuments in Arizona. Walnut Canyon is known for the Sinagua cliff dwellings that visitors can view from the trails. Though there are also many rock art panels within the monument&rsquo;s boundaries, the panels are still relatively unknown by archaeologists and inaccessible to visitors by both trails and lack of interpretive materials. The thesis is theoretically based in critical and multivocal approaches, which engage with power relations between professionals and non-professionals and add outside perspectives to archaeological interpretation, by examining how digital technology affects accessibility and public participation. To investigate how digital technology can enhance recording and interpretation of rock art, I use 3D photogrammetry, GigaPan high-resolution panoramas, 360-degree panoramas, oblique flash photography, Reflectance Transformation Imaging (RTI), high dynamic range (HDR) photography, and DStretch photo enhancement software. What I find is that the digital recording methods I use for the project have much to offer both the public and researchers. While the methods do not replace a physical visit, a virtual visit could go far beyond many interpretive exhibits. Each method has its own considerations for how to be implemented effectively, so researchers and interpreters should consider any constraints they have and only select the methods that are most effective for their project goals. </p><p>

<p>Talent management has been a heating-up topic in recent years. It has a positive effect on the ability to create a compelling, productive, and valued enterprise for all stakeholders — employees, customers, business partners and investors. Moreover, talent management facilitated talent flexibility and enables the rapid growth of the business, ensuring rapid alignment with the requirements established by business leaders as the company evolved. Meanwhile, the importance for a company to attract and retain a high-quality workforce is moving into the boardroom agenda, more and more attention is pain on this acute topic.</p><p>In this thesis, we are doing the research on how to build up a talent factory within the company – how to recruit the most outstanding people to meet the business needs, how to maximize the potential of employees, how to put the right people in the right position and finally how to keep the best people in the company. In order to achieve it, we conducted our research from different methodologies (literatures, case studies, interviews) to find the answer our research question: is talent management a science or an art in order to build up a talent factory? At the end, we came out of our own understanding about the talent management and the accommodations of building up a talent factory.</p>

Labour force in the art sector is characterised by high qualification, but low income for those people who perform the core contribution in art, i.e. the artists. As artists are typically self-dependent in managing their business, they should have managerial skills besides those skills necessary to perform their artistic core activities. If the lack of managerial skills is a reason why artists fail to make a living from their talent, then this chain of cause and effect could be ruptured by adequate educational opportunities. This paper analyses the curricula of a wide range of institutions offering art education programmes and identifies their managerial learning content. In doing so, we focused on German-speaking countries, the so-called DACH region (i.e. Germany, Austria and Switzerland, whereas D, A and CH are country codes). We identified and analysed 159 course syllabi of 81 art universities, schools and academies. The results of our study indicate a lack of managerial learning contents: a vast majority of institutions follow a rather traditional approach to art education, focusing solely on artistic competences. We suggest the implementation of managerial learning contents to better prepare art students for successful careers in the arts.

This doctoral research enquires into the ways contemporary art has become a model for corporate management. Two entwined questions are essential: what kind of mechanisms should be enacted by contemporary art as a means to challenge the idea of model and how could these potentially alter the way corporate actors/authors think about artistic practices? As a means to understand how these two fields are being affected by each other in neoliberal ideology, an investigation is required from the standpoints of both art and management. This comprises of three stages: a historical review of artistic modes of production and their relationship with corporations in the 1960s through the case studies of Experiments in Art and Technology and the Artists Placement Group; a closer look at how art manifests in the imaginative economy of managerial writings; and the analysis of recent artistic practices, in which the performative takes a central role through the use of language. By looking at cultural theory, management literature, corporate projects (Deloitte, Quickborner Team and Xerox PARC), management conferences (Daved Barry), and artworks of artists (Alicia Herrero, Burak Delier, Carey Young, Jan Peter Hammer, Joel Slayton, Harun Farocki, Nicoline Van Harskamp, Pilvi Takala, and Pamela Z), this research discloses contrasting positions and ironic inversion as an artistic strategy of differentiation. Performativity is understood herein as the vehicle through which corporate actors/authors extract the necessary inspiration to reproduce artistic expressions and methods. Conversely, it is also the means of expression that contemporary practices often employ as a way to challenge corporate interests. This is achieved by deploying the theoretical interdisciplinarity of performativity and examining the linguistic standpoints of both corporate management and post-conceptual artistic practices. What changes today in contemporary art is not so much the meaning of parody or irony, but the nature of the artworks – implicated yet critical of capitalist structures – and the circumstances to which they are attached – the growing complicity of art institutions with corporations. By delineating a situation in which artists-as-curators are paradoxically placed as critics of corporate institutional structures and participants of those same structures, this research puts forward performativity as a disruptive device of a model of work idealised by corporate management that has been redefined in artistic practices in the past two decades.

This master thesis is about knowledge management in museum sphere. The purpose of theoretical part of this thesis is to give readers an introduction about basic terminology concerning to knowledge management. This part acquaints with definition of information, types of information, then the mentioned assumptions and the history of knowledge management. The theoretical part devoted to the process of transfer of knowledge, influence factors, barriers and obstacles arising during the inmplementaion of the knowledge management in the organization. The practical part of the thesis is an analysis of the current status of the museum and galeries in the world and the possibility and necessity of using knowledge management in the context of cultural institutions.

In January of 2012, I began an internship with the San Antonio Museum of Art. At the time, the Education Department was engrossed in an audience research study, designed to strengthen the Museum’s understanding of its constituents. This study was my entry-point into the organization and where all my efforts were focused over the course of my internship. This paper includes: an organizational summary; an account of my internship experiences; a SWOT analysis; a review of industry best practices; and recommendations based on observations acquired over the course of my internship.

This study discovers and describes the maJor themes of collaborative arts practice in the process of creating the dance theatre work Dream Hunters. The secondary purpose of this qualitative study is to evaluate the computer software known as NUD*IST as it was used in the process of achieving the primary purpose of the study. Three major themes are identified in the collaborative process: Emotional Returns, Personal Virtues and Ways of Working. These themes are linked by four supporting elements which underpin the degree of interpersonal meshing required for the success of the collaborative venture. These key elements are identified as: Leadership, Clarification of Role Descriptions, Trust and Respect as Self-absence, and subservience to the Work.

CLASSROOM STRATEGIES AND TECHNIQUES FROM THE EXPERIENCES OF VETERAN ART EDUCATORS by JOHN PAUL WOOD JR. Under the Direction of Dr. Melody Milbrandt ABSTRACT This educational case study on classroom management was conducted through questionnaire format by way of email and mail correspondence with art teachers working in a south metro Atlanta area school system in February of 2008. It was conducted to gain data on classroom management techniques and strategies from veteran art educators. The data I analyzed provided commonalities in methods, strengths and weaknesses, and techniques used that could potentially assist novice art teachers in areas of managing student behavior, materials and supplies in an art classroom. The findings of this study reveal although art educators of different grade levels teach different art lessons, they share similar approaches to behavior management and have overcome similar problems as novice teachers. INDEX WORDS: Art Teacher, Classroom Management, Behavior Management, Advice For Novice Teachers

Why 'speculation as a mode of production'? The formulation conjoins the two senses of speculation pertinent to this thesis – the speculative praxis of art, and the speculative logic of capital. It also attempts to give a specific critical valence to the phenomenon of the 'creative industries' which was based on the ideological elision of these two registers of the speculative with the goal of founding a new regime of accumulation on their union. Since that time, we have seen the global economic and social crisis displace this idea from the centre of policy-makers' agendas as the always-latent coercive side of 'creativity' is revealed: creativity as a survival strategy for disinvested populations as 'wealthcreators' go on accumulating. At the same time, there are attempts to re-start accumulation on ever more marginal and self-exploiting grounds, at best as homespun alternatives rather than organized challenges to the dominance of abstract value. In this situation, it is more than ever necessary to find the points of convergence between the desires for capital maximization and social emancipation, and ways to disentangle them which the impacts of the crisis may bring to light. I take artistic production as my field of analysis because this is where these ideologies intersect most dramatically. While speculative thought refers mainly to art and aesthetics, particularly in their connection to reimagining social relations, the 'speculative logic of capital' can be broadly defined as the selfexpanding, or self-valorising, dynamic of capital as such – speculation as social form - rather than a subset of it which can be named as 'the financial industry', although finance has specificities which are discussed in their own right. 'Speculation as a mode of production' thus refers to the open-ended processes of art and politics, as well as the overdetermined process of value expansion in capital. It seeks to encompass both a subjective and an objective mode for the social expression of capital in the ongoing era of neoliberalism. This period has witnessed the subjective qualities of creativity, flexibility and innovation become the objective factors of workplace productivity, while objective productivity itself shifts to the indeterminacy and risk associated with 'creative financial instruments' as the primary mode of capital accumulation. This thesis will draw a parallel between contemporary capital and contemporary art as they come to constitute the poles of a society structured around speculation.

From fall 2003 to spring 2004 I served as an intern producing ART JAM, a free, interactive children's arts festival for KID smART. KID smART is a nonprofit 501 c.3. organization created to teach positive life skills to underserved children through hands-on arts activities in New Orleans, LA. ART JAM is an interactive children's arts festival presented by KID smART. The festival serves as a major public relations campaign and serves to advocate that the arts are important in the lives of all children. This report is broken into 5 chapters and details the activity of producing ART JAM 2004. Chapter 1 is an introduction KID smART and ART JAM including its mission, history, organizational structure, funding, and programs. Chapter 2 is a description of my internship including tasks and responsibilities. Chapter 3 is an exploration of organizational issues including strengths, weaknesses, threats and opportunities. Research and explanation of "Best Practices" along with recommendations will be discussed in Chapter 4. Chapter 5 analyzes the short and long term effects of the internship on KID smART and ART JAM.

Thesis (MBA)--Stellenbosch University, 2005.<br>ENGLISH ABSTRACT: If you want peace make ready for war! This was what Sun Tzu believed when conveying his philosophies in his book the Art of War. What is remarkable about the Art of War is that it was written about 2300 years ago and presented a new way of thinking about battle. Sun Tzu did not promote engaging in battle but rather overcoming the enemy without having to do battle. "100 victories in 100 battles is not the most skilful. Subduing without battle is the most skilful" (Denma Translation: 2003: 25 - 26). The Sun Tzu begins with the understanding that conflict is an integral part of human life. It is within us and all around us. Sometimes we can skilfully sidestep it, but at other times we must confront it directly. Many of us have seen the destructive power of aggression, whether on a personal level or in the disasters of armed conflict. We know as well the limitations of most political and personal responses to that aggression. How can we work with it in a more profound and effective way? (Denma Translation: 2003: 2). As in modem day society conflict is ever present and the manner in which we deal with such conflict either resolves the conflict or exacerbates it. One way of dealing with conflict is through negotiations. The negotiation process is an orderly process whereby parties can engage each other in dialogue in order to reach a mutually acceptable agreement. What is evident is that to be successful in a negotiation the necessary planning and preparation needs to be done. Although it is not possible to prepare and plan for all eventualities within the negotiation process most scenarios can be predicted and therefore if the required preparation is done the possibility of reaching one's objective is increased. When preparing for negotiations it is imperative that all environments that can impact on the negotiation are considered. Furthermore the organisational and personal power of the negotiator and the other party needs to be determined. Within the negotiation process the negotiator will display certain behaviours depending what he/she wishes to achieve. Should the negotiator wish to drive the negotiation then behaviours such as providing information or making proposals will be used. On the other hand, if the negotiator wishes to draw the other party into the negotiation then the behaviour of seeking information and summarising would be used. The outcome of a negotiation could be one of four, namely lose -lose, win -lose, win - win or mutual gains. There are different approaches to negotiation, namely soft, hard and principled. It is suggested that the most appropriate approach is the principled approach, although the soft and hard approach could be used under certain circumstances. A negotiation is a systematic process and involves the aspect of planning. Without planning negotiations are sure to fail and the objective set not reached. The types of planning that need to be done are strategic, tactical and administrative. Instead of opposing each other the planning aspects of negotiation complement each other. Sun Tzu proposes ways to settle a conflict without engaging in battle. Although the learned strategist does not promote negotiation directly when reading the 'Art of War' it becomes evident that Sun Tzu preferred to resolve conflicts in a peaceful manner. It was only when no other option was available that he suggests battle. In war most of the planning and preparation involves strategies, which is similar in the negotiation process. It is important that a negotiator knows when to move, when to stand fast and when to engage the other party. This is also true for any military engagement. Sun Tzu sets out philosophies, which can be used to strategise for negotiation. Although a bit of poetic licence exists when interpreting Sun Tzu's philosophy for the negotiation arena, what the learned author contributes to the field of negotiation is to make the negotiator aware of the options available. The Art of War provides insight into creative thinking where Sun Tzu spells out that it is better to conquer the enemy without engaging in battle. Furthermore the less of the enemy's possessions destroyed the more astute the leader and lastly, that one must not engage in battle because of the wrath of the leaders. In other words it should not be retaliation because the leader's ego is bruised. Sun Tzu provides wisdom, which can be utilised in the negotiation process. The interpretation of Sun Tzu's strategies provides a framework for negotiators to strategise when entering into negotiations.<br>AFRIKAANSE OPSOMMING: As jy Vrede wil hê, maak reg vir 'n oorlog! Dit is wat Sun Tzu geglo het toe hy sy filosofie in die boek Art of War, weergegee het. "100 victories in 100 battles is not the most skilful. Subduing without battle is the most skilful" (Denma vertaling: 2003: 25-26). Sun Tzu gaan van die veronderstelling uit dat konflik 'n integrale deel van die menslike bestaan is. Dit is binne in ons en orals om ons. Somtyds kan ons dit behendig systap maar ander kere moet ons dit direk hanteer. Baie van ons het al die destruktiewe krag van agressie gesien, hetsy op persoonlike vlak of in rampspoedige gewapende konflikte. Ons ken ook die beperkings van die meeste politieke of persoonlik reaksies op die tipe aggressie. Hoe kan ons dit op 'n meer diepgaande en effektiewe manier hanteer? (Denma vertaling: 2003: 25-26) Soos ook in die moderne samelewing is konflik alom teenwoordig en die wyse hoe dit hanteer word kan dit of oplos, of vererger. Een metode om konflik te hanteer is deur onderhandeling. Die proses van onderhandeling is 'n ordelike proses waardeur partye met mekaar in gesprek tree ten einde tot 'n wedersyds aanvaarbare ooreenkoms te bereik. Dit blyk dat ten einde suksesvol te wees in onderhandelings die nodige beplanning en voorbereiding gedoen moet word. Alhoewel dit is nie moontlik is om te beplan vir alle gebeurlikhede tydens die onderhandelinge nie, kan die meeste scenario's egter voorspel word. Indien die nodige voorbereiding dus gedoen word kan dit jou kanse om jou eie doelwitte te bereik, verhoog. Wanneer voorberei word vir onderhandelings is dit noodsaaklik dat alle omgewings invloede wat 'n impak kan hê daarop oorweeg word. Verder moet die organisatoriese en persoonlike mag van die onderhandelaar en die ander party bepaal word.Tydens die onderhandelings proses sal die onderhandelaar sekere gedrag toon afhangend van wat hy/sy uit die onderhandelings wil verkry. Indien die onderhandelaar hoop om die onderhandelings te lei, sal gedrag soos om inligting te verskaf en om voorstelle maak, gebruik word. Indien die onderhandelaar andersyds eerder die ander partye wil betrokke kry by die onderhandelings, sal gedrag soos die soeke na inligting en om opsommings te maak, getoon word. Die uitkoms van onderhandelings kan een van vier moontlikhede wees, naamlik: verloor-verloor, wenverloor, wen-wen of beide partye baat. Daar is verskillende benaderings tot onderhandeling naamlik die sagte, die harde en die beginselvaste benadering. Dit word aan die hand gedoen dat die mees toepaslike benadering die beginselvaste benadering is maar dat die sagte of aggressiewe (harde) benadering ook onder sekere omstandighede gebruik kan word.Onderhandelinge is 'n sistematiese proses en behels beplanning. Sonder beplanning is onderhandelings gedoem tot mislukking en is die doelwitte nie haalbaar nie. Die tipe beplanning wat gedoen moet word is strategies, takties en administratief. Die verskillende tipes beplanning komplementeer mekaar eerder as om mekaar te opponeer. Sun Tzu voorsien metodes hoe om konflik te besleg sonder om in oorlog betrokke te raak. Hoewel die geleerde strateeg nie onderhandelings direk promoveer nie blyk dit by die lees van The Art of War dat Sun Tzu verkies on konflik op 'n vreedsame wyse op te los. Dit was slegs wanneer geen ander opsie beskikbaar was nie dat hy oorlog voorstel. Tydens oorlog word beplanning en voorbereiding gewy aan strategie wat baie ooreenkom met die van die onderhandelingsproses. Dit is belangrik dat die onderhandelaar weet wanneer om te beweeg, wanneer om vas te staan en wanneer om die ander party te betrek.Hierdie is ook belangrik vir enige militêre aanval. Sun Tzu se filisofie kan dus ook gebruik word vir strategie beplanning vir onderhandeling. Hoewel 'n mate van poëtiese vaardigheid benodig word vir die intepretering van Sun Tzu se filosofie in die onderhandelings arena word die geleerde outeur se bydrae op die onderhandelings gebied gemaak daardeur dat die onderhandelaar bewus gemaak word van sy beskikbare opsies. The Art of War gee insig in kreatiewe denke waar Sun Tzu dit uitspel dat dit beter is om die vyand te oorwin sonder om in 'n geveg betrokke te raak. Verder word aangedui dat hoe minder van die vyand se besittings vernietig word hoe slimmer die leier en dat daar nie in 'n geveg betrokke geraak moet word vanweë die woede van die leiers nie. Met ander woorde daar moet nie vergelding wees as gevolg van die gekrenkte ego van die leier nie. Sun Tzu verskaf dus wysheid wat gebruik kan word in die onderhandelings proses. Die interpretasie van Sun Tzu se strategieë voorsien 'n raamwerk aan onderhandelaars vir stategiese beplanning wanneer betrokke geraak word in onderhandelings.

This paper examines the relationship between auction outcomes and pre-sale estimates. Using data from Blouin Arts Sales Index this paper examines 700 realized prices for Picasso works over the last five months of 2015. After considering many estimation inadequacies, it is determined that experts are publishing accurate and unbiased pre-sale valuations. For works unsold, the revenue lost to “buy ins” is offset by the excess revenue earned from current estimate publishing strategies.

The decentralization of cultural production in China coincided with the introduction of economic and political reforms in 1979. The subsequent shift from a system of state propaganda production towards a market-oriented dealer-critic system of cultural production required a wider range of expertise beyond deep knowledge of the Western modern art canon or domain expertise. This dissertation investigates how the field of contemporary Chinese art (CCA) is constituted and transformed through a division of labor that reflects varieties of expertise using empirical data from 89 in-depth interviews with leading cultural professionals working in the CCA field, historical archival records, and participant observation. The study revises the conventional conception that domain expertise consistently shapes cultural fields. The main finding is that the kinds of expertise used are associated with how the CCA field has developed over the past three decades. Cultural professionals mobilize non-cultural expertise as well as cultural capital to enlist international support for CCA, establish aesthetic value, and extend the boundaries of cultural organizations that filter and deliver CCA to a broad audience. These results reinforce the agency perspective in institutional studies. Individual actors drive change in the CCA field while being embedded within it. Overall, the transformation of the field of contemporary Chinese art encompasses pragmatic adaptations to environmental shifts in resource distribution, the availability of new technologies of cultural production, and wider political and economic transformations.<br>Sociology