Heteronomy in the arts field: state funding and British arts organizations

Philanthropy patterns in major Australian performing arts organizations

Taking a management perspective in the field of philanthropy, this study examines 12 Australian major performing arts organizations over 19 years (2000–2018), which were identified as vulnerable and struggling with overreliance on public grants. Underpinned by theories that integrate understandings of external and internal resource management—resource dependence theory and the resource-based view—we uncover insights into what drives the increase in their philanthropic income. Using data from 228 annual reports and interviews, we present an original taxonomy that identifies organization-donor relationships and organizational efforts in nurturing philanthropy. We uncovered the interplays between donor engagement and positioning philanthropic staff in terms of organizational structure. Longitudinal financial and narrative data demonstrate that external resource management through donor engagement and internal resource management through organization structure emphasizing philanthropy have a significant impact on the growth of organizational philanthropic income.

The language of business and the business of language: Exploring hegemonic linguistic performativity in the UK museum sector

Austerity measures and neoliberal policies have deeply affected the UK cultural sector. In particular they have been central to cementing the idea that contemporary cultural institutions should henceforth be regarded as commercial operations. As the language of business and management (B&M language) increasingly frames how organisations of the cultural sector are described, this paper defines the main discursive practices motivating this performative repositioning. Drawing theoretically from the concept of performativity, and building empirically on in-depth interviews with senior staff across the UK museum sector, we argue that the incursion of B&M language has reshaped the ‘reality’ of the sector by materialising new relations. Signally, we advance a concept of performative hegemonic language to describe a range of manifestations of linguistic re-labelling in the world of the museum. Our paper illustrates what happens when an organisation starts to classify activities through B&M language, considering the implications of framing this etymology as transcendent to its cultural counterpart. Relabelling, we contend, re-orients meaning, and this translates into the ascent of what we call the ‘neoliberal museum’. Overall, our paper unpacks the linguistic-material processes underpinning the ideological transformations affecting the cultural sector.

‘Culture for Sale’: The Effects of Corporate Colonization on the UK Museum Sector

For the United Kingdom, the 2008 financial crisis coupled with the subsequent economic austerity programme forced many public institutions to engage in various cost-cutting and fundraising ventures. In parallel, corporate ideologies came to dominate how academics, officials and professionals debated public activities, in turn profoundly affecting the provision of communal services. This paper explores how ‘corporate colonization’ ( sensu Deetz, 1992), fuelled by austerity, claims public institutions for commercial interests. Drawing on in-depth interviews with senior staff, this paper demonstrates how retrenchment of external support in the UK museum sector has been an uneven process, resulting in the manifestation of three experiential states of corporate colonization: organizational perennity, organizational perseverance and organizational precarity. We thus investigate the differential and uneven ways in which corporate colonization affects organizations pertaining to the UK cultural sector. Overall, we argue that the austerity culture in the UK affects museums in largely negative ways by forcing them to respond to the progressive need to satisfy short-term financial interests.

From starving artist to entrepreneur. Justificatory pluralism in visual artists' grant proposals

Inspired by French pragmatism and using Bourdieu's notion of "refraction" as an indication of a field's autonomy, we explore in-depth what kinds of justifications visual artists deploy to legitimate their requests for government money. Based on 494 government grant proposals from visual artists between 1965 and 2015 in Belgium, we find six such justifications. The reputational, esthetic, and romantic justifications are grounded in autonomous criteria of worth, such as artistic CVs, the work of art itself, and a compulsive desire to make art. Since the 90s, social, academic, and entrepreneurial justifications bring in heteronomous criteria, or refractions of field-external values. Artistic practices become increasingly legitimized through engagement with social/political issues, academic methods and terminology, and an entrepreneurial spirit. We empirically show how the refraction of governmental logics is multi-faceted, yet always related to or combined with artistic concerns, which we interpret as characteristic for the artistic field's persisting autonomy in the face of heteronomous pressures.