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Summary of all articles of the track Creative Entrepreneurship and Management in the Creative Industries
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Week 1 Cultural Markets and Creative CompetitorsBradshaw, Holbrook (2007) – Remembering Chet: theorizing the
mythology of the self-destructive artist as self-producer and self-
consumer in the market for romanticism
In a nutshell
From the viewpoint of marketing theory and the potential blurring of the distinction between
production and consumption in the sphere of arts, entertainment, and culture, we explore the lived
tragedy and mythology of Chet Baker as an epiphenomenon of the market’s thirst for self-destructing
artists that has plagued jazz for much of the past century.
Chet Baker’s short biography
Chet Baker started off as a talented musician with an angelic face. Authors believe that lasting
appreciation of Chet’s greatness hinges on the fascinating tension or delicate balance between the
aspects of strength and vulnerability in his playing, singing, and self-destructive mythology.
He plays and sings angelically and – with ironic sadness – ultimately becomes a fallen angel. Baker
was a rather unrepentant junky. The myth of the self- destructive artist is disturbingly instantiated
by the loss of Chet’s good looks following years of drug abuse and fast living. Paradoxically
enough, Chet’s conspicuous decline proved to have strong market potential (self destructing
seems good for business).
The mythology of the artist as chronically vulnerable, isolated and misunderstood.
According to Wilson (2000), the fascination with a culture that destroys its most talented
members, hinges on reversing the myth of Pentheus insofar as a repressive society succeeds in
destroying the Dionysian artist, who nevertheless triumphs in achieving martyrdom.
This is a stereotype of struggle and isolation
Romanticism has acted as a merciless shaper of demand for artists, instructing them to live
and, all too soon, much too often, to die as an Artist. Self-destruction evolved into one of the
few credible ways for the lonely sensibility of a vulnerable artist to be registered publicly:
-Suicide is the most direct form of self-destruction that one can enact. Suicide club in
Bohemian Paris;
-The artist inherits a role to perform, a role imposed or at least valorised by the marketplace
that, following the Romantic period and associated with its bohemian ideology (creativity and
autonomous integrated) , requires him to live and die by extremes.
A fundamental contraction in art
-On one hand, musicians are expected to create music that is oppositional, autonomous,
and innovative, thereby pleasing themselves above all else while simultaneously satisfying
the Romantic ideal of art.
- On the other, they are forced to create music that will raise the cash needed to sustain
their professional careers by putting food on the table.
The challenge
The major challenge lies in overcoming the fundamental contradiction between producer-as-
consumer (pure bohemianism through creative integrity) and consumer-as-producer (pure alienation
through pandering) so as to achieve some degree of self-actualization as an artist who can satisfy the
bohemian expectation of autonomous production but who nonetheless manages to survive or even
thrive rather than self-destruct.
,Why does the public find the myth of artistic self-destruction so appealing?
The more our lives move toward an existence in which individuality becomes mediated
through the marketplace culture, the more we yearn (verlangen) for a non- commercially
constituted existence. Thus, the arts and artistic expression become sites for consumer
imagining (zo worden kunst en artistieke expressive sites voor de consument)
-Creative consumers strive toward an anti-market society, such as that found by Kozinets
(2002) in the organization of the Burning Man Festival. |
-As Thompson (2004) suggests, (creative) consumer culture is permeated (doordrongen) by
mythologies reflecting culturally resonant visions of an emancipated world – free from the
sway of monetary power, the hegemony of materialism or capitalism, and the dictates of
commercialism or commoditization.
-As Baumann (2005) notes, central to the mythology of the self-destructing artist is the longing of
admirers and critics for freedom, abandon, and self-determination (zelfbeschikking). Similarly,
Frith suggests that what is now involved in music is not simply music but, rather, music as
articulated through an image of a performer.
-We are inspired by musicians who are seen to resist the market in favor of bohemian ideals – even
at the expense of artistic self-destruction, because therein lies the possibility of complete market
emancipation and abstention from bourgeois conformity.
Bohemian
Musicians or other artists who perform primarily for themselves as expert self-consumers seeking to
maximize their own profound aesthetic experience as an audience for the consumption of their own
playing. Sincere appreciation they can bestow
Alienation
Music made purely for the commercial pursuit of a monetary reward and aimed at an audience of
non expert consumers who have no special knowledge of the art form, who are cultivated for the
dollars they can provide rather than for the sincere appreciation they can bestow, and who will
respond favourably to the music only if it is dumbed down in ways that make it easily accessible.
In the middle
Many artists escape these extremes by settling for some form of scuffling that preserves a degree of
artistic integrity while managing to make ends meet in a way that will avoid starvation
Presentation:
Tension between art and commerce
Tactic: self-destruction
Without being legitimacy to the high crowd, still being commercially succeed
Why is being displayed negative?
-Negative attention in the creative industries is valuable and therefore there is something more to
write about you.
-Help to fill in your image as an artist. If you get this success, you are less likely to loss your highbrow
,Dubois (2012) – Recognition and renown, the structure of cultural
markets: evidence from French poetry (CULTURAL MARKET)
Purpose
To look closely at the structure of cultural markets and at the circulation of works between the two
poles of large and fringe firms.
The market of poetry is made of large-scale and reputed publishers and a wide range of smaller
firms. Cultural industries are organized according to an oligopoly fringe model in which large
businesses dominate the bulk of the market, leaving the niches they deem insufficiently profitable
to small firms (waardoor niches die zij onvoldoende winstgevend achten, voor kleine bedrijven
worden achtergelaten).
1. Economist explain this segmentation as a matter of market size, arguing that the fringes (=
randgebied) are commercial niches abandoned by the large enterprises for lack of interest in
investing in small markets that cannot cover their high fixed costs.
2. Sociologists insist on genre distinctions and the division of the literary field into two distinct
poles of production:
-Pole of restricted production (highbrow literature, artistic purity);
-Large-scale production pole (mass-market literature); large firms invest in artistic products whose
conventions are widely shared.
Concluding, the market is defined by the 80/20 principle: 80% of the market is dominated by 20% or
less of the firms.
Findings
The status of the firms is remarkable stable, artist may move from small publishers to large-scale
ones.
-The genre of poetry does not move from small-scale to large-scale publishers, though individual
poets do.
So, the structure of markets corresponds to that of reputations, which array themselves according
to the two stages of recognition and renown (bekendheid).
These moves make sense in terms of the distinction between recognition:
• Recognition: the reputation an artist enjoys within his or her original world of art
• The extension of the artist’s reputation beyond his or her world of art (renown)
Reputatie: twee stadia van erkenning (klein) en bekendheid (buiten de world of art)
Selective matching and reputations
Associations with high-status partners – proves the most efficient mechanism for building
reputation, as long as the artistic conventions (afspraak tussen twee of meer partijen, maar vaak
tussen alle leden van een grote of kleine gemeenschap) put into play are rather widely shared. In
addition, other reputational building mechanisms such as awards, criticism and media coverage
have an important role to play. (dus van kleine erkenning-kleine bedrijven- naar bekendheid – grote
bedrijven)
Reputation as collective category
Reputation is a category of collective thought, a perception. It has meaning only when shared.
, Reputation functions along vertical and horizontal axes:
o Reputation orders individuals within a hierarchy (vertical)
o It is shared among a more or less large community (horizontal)
-Reputation comes from success (or failure) in a series of competitions. These are the selections
made by the editorial committees of journals, the choices made by book critics and the tenor of
their reviews, etc.
-So, reputation has a chronological dimension: the success in earlier trials is a condition for success
in those to come. This is also called a process of legitimation .
-Reputation influences actors’ decision and shapes their choices – to form certain partnerships for
instance, or to produce certain artists.
Recognition vs Renown
-While reputation is grounded in a big community, recognition occurs in small, specialized circles
where the economic power of businesses counts for little.
-Renown comes to the artist whose name goes beyond the circles of the initiated to enter into
history, that arbiter who “assigns recognition to posterity”.
o Renown is at the heart of the sociology and the economics of art, since that is where we find the
names and works that will enter the canon.
o Renown refers to a phenomenon that is familiar to the worlds of art: overselection.
-The processes shaping recognition and renown may involve different actors (firms, critics and
evaluators, peers), logics and distribution networks.
The author proposed: Cultural markets array themselves according to recognition and renown,
which is why artist move from recognition generated with small firms to the renown that hinges on
the involvement of large-scale firms.
What then are the conditions for a poet’s climb up the virtual ladder of market-status? It is the
movement around a work (the clues before publishing a poet in a collection). This includes former
sales, the attention paid by critics and peers, awards, public readings, etc.
Presentation:
Reputational story:
-Two types: recognition and renown
Usually you start at the minor and then get promoted for the major publishers
Recognition: more
Renown: mostly don’t know what you do and don’t know anything about your work
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