Castañer and Campos (2002)
|Castañer and Campos (2002)|
|Title:||The Determinants of Artistic Innovation: Bringing in the Role of Organizations|
|Author(s):||Castañer, X., Campos, L.|
|Citation:||Castañer, X. and Campos, L., 2002. The determinants of artistic innovation: Bringing in the role of organizations. Journal of Cultural Economics, 26(1), pp.29-52.|
|Key Related Studies:|
|About the Data|
|Data Description:||The study proposes an economic model for artistic innovation based on a literature review. It contains no original data.|
|Data Type:||Secondary data|
|Secondary Data Sources:|
|Data Collection Methods:|
|Data Analysis Methods:|
|Cross Country Study?:||Yes|
|Government or policy study?:||No|
|Time Period(s) of Collection:||
This article deals with the determinants of artistic innovation by arts organizations. First, we define artistic innovation. Second, we review the literature on its determinants, identifying some gaps. In particular, we observe that existing research mostly focuses on macro-environmental factors and tends to ignore the role of the organizations themselves. Thus, drawing from the organizational literature on innovation we formulate testable propositions that relate organizational factors to artistic innovation. We hope that our focus on organizational factors contributes to a more comprehensive framework on the determinants of artistic innovation in particular and programming in general.
Main Results of the Study
The authors have provided a working definition of artistic innovation. They have reviewed the literature and observed two main theoretical perspectives (economical and sociological) and three levels of explanation (macro, meso and micro), noting that that both theoretical perspectivestend to focus on the effect of macro-environmental (demand and supply) and meso (funding mix) factors rather than on organizational ones (such as size, age, structure and power distribution). They also observed that the empirical evidence for both the macro and meso factors is rather mixed and inconclusive and have provided new theoretical propositions about the role of funding mix that take these limitations into account.They also bridged the gap identified in the literature by drawing on the organizational literature on innovation, in a manner consistent with the specific nature of arts organizations, drawing from the behavioral theory of the firm to suggest that the gap between performance andaspiration levels, together with the availability of slack resources, might drive artisticinnovation. In developing this overarching argument, they offer seven testable propositions that also include the role of art managers’ background in determining the organizational preferences.
Policy Implications as Stated By Author
The authors pose the question to what extent society's preoccupation with commercialization is justified. Clearly, the available data on programming, although scattered, does not support such a pessimistic view. In addition, the empirical evidence on the hypothetical negative role of corporate funding is not supported either. This evidence prompts us to ask ourselves whether society's concern for an artistic deficit might be an elitist attitude. Innovative art can oftentimes alienate (contemporary) audiences if there is no attemptby the artistic community to make innovative works understandable. Innovation per se might not be as valuable for society as it could be.
Coverage of Study
|Level of aggregation:||Case study|
|Period of material under study:||2002|