Communication, Fundraising And Advocacy In Art.

Contentsi . Cultural theories of Horkheimer and Adornoii . Politicians , Communication take , and Interest Groupsiii . Linking Museums to Advocacy Groupsiv . good Fundraising for the Museumv . Conclusions1Introduction Cultural theory forms the backdrop against which the castrates in the artistic creation impression toilet go around be soundless . In occurrence , this approach leave shed light on theway that the merchandise of museums is beingness adjust with protagonism groupsChanges in the heathen sphere ar non necessarily fragmentedand without consequence for the social and political spheres . Thusmuseums that embark on fundraising campaigns moderate a chance ofraising substantial contributions given the efficacious use of communications mediaPoliticians atomic number 18 non indifferent to the personal effects of the communications channels on thevarious divert groups in parliamentary law . Thus an effective fundraising campaign formuseums should include targeting the interest groups that a politician dish upsStudies alike indicate that 82 of contributions come from individuals ratherthan corporations as is commonly believed . Thus by targeting the earshotthat frequents museums , museum marketers can hope to further substantial fundsCultural Theories of Adorno and HorkheimerTheodor Adorno (1903-69 ) and Max Horkheimer (1895-1973 ) were influential figuresin what came to be known as the `Frankfurt school of sociology . As An displace Milner notes inContemporary Culture Theory , Adorno and Horkheimer drew a distinction amongtraditional theory and critical theory . traditional theory , they argued , conditions the studentto seek only `stored up knowledge in contrast , the critical theory they developedpresented the social world not as roughlything given but as something that could be alterationd2 sarcastic theory sought to actualize the socialworld as changeable , thitherby stripping realityof its character as `pure factuality (Horkheimer , 1972 ,pp188 ,209(Milner , 2002Deborah produce , in Adorno , Habermas , and the front for Rational Society (2004 ) adds thatAdorno and Habermas were primarily concern with a critique of the economic systemin Western society . In this , these ascertains willing be discussed in resemblance totheir implications for the marketing of museumsAdorno and Habermas harbor got about the primacy of the capitalist economic system inWestern nations today (Cook , 2004In chapter 4 , Critique , Cook outlines Adorno s view on glossAdorno s view of culture as something more than a mere epiphenomenon [is that we must set culture (as an head but in any case as a phenomenon ) all the go we continue toperpetuate it , and perpetuate it while continuing tirelessly to denounce it .] HYPERLINK http /www .questia .com /reader /action /gotoDocId /4 4 Indeed , withthe idea that culture must be simultaneously preserved and overcome Jameson accuratelydescribes the self-critical spirit of reason that Adorno endorsed without his hunt down . Onthe one hand , culture serves to legitimate conditions that continue to bring tremendoushuman suffering (Cook , 2004Adorno was concerned with culture as a fruit process that counterbalancetually reduced therelationship between human beings to a relationship between commodities in the marketIt is also the case that relations between the living human producers of commodities atomic number 18 transformed into relations between things the circulation of commodities on the market determines relations between individual producers (Cook , 2004The coating of cultural theory , in Adorno and Habermas view , was to provide studentswith a way to overcome the conditions of cultural production in their sorticular spatial relationFollowing the Marxist tradition , Adorno and Habermas claim that their theories have apractical intent : their critiques of tardy capitalist economy are meant to contribute to theimplementation of positive change . specifically , the practical intent of critical theory isto provide the hypothetic basis for surmounting reification by examining its nature and3its damaging effects on human life while locating the coherent potential in reified realitythat points beyond it (Cook , 2004How does Adorno s critique apply to the menstruation situation in the marketing of museumsIn Fiona Mclean s ca-ca , Marketing the Museum (1997 , Mclean observes the diversify fromgovernment reenforcement of museums to `the use of market mechanisms to seek plural fundingIn ch . 8 , on Resource Attraction , Mclean wrote thatMost museums are non-profit-making institutions . In the past , they could normally rely oncontinuous funding from their funding bodies , commonly central and local government in the UKor also benefactors in the US . However , two significant changes have adapted this `dependencyculture , as it has been called with some derision . initiatory , the advent and phenomenal growthparticularly in the UK , of independent museums . Although to a large extent the independentmuseums have got some funding from municipal authorities and grant-giving bodies , this incomeis not capable for choice . Independent museums have to generate their own income . Thesecond change has been the demise of automatic annual increases in funding for local authorityand central government museums . The political and economic climate has changed , deliverance in demands that museums become banknoteable , show `value for bullion , and that they usemarket mechanisms to seek plural funding . In other wrangling , museums can no longer relyon public subsidy for survival . The issue of income generation and resource attraction hascome very very much to the fore (Mclean , 1997Adorno s cultural theory allows us to understand the change in funding of museums as aneffect of competition under capitalism . Museums can no longer stand simply on theirmerits of providing aesthetic pleasure of a higher to the public . In accordance withAdorno s cultural theory , museums in general and art objects in particular are being subjectto the laws of exchange and the extremity of competing in the commercial marketThe difficulty inherent in this situation , as Mclean notes , is thatThere is a fatal flaw in the commercialization of museums . Unlike some other leisure 4organizations museums are not self- guarding (Mclean , 1997Museum marketers must therefore find effective slipway of raising funds for museums tosurvive under the present conditions . Fortunately for museums patrons , the invoke in fundinghas also been accompanied by a huckster in the view of museums as academic venues to a view ofmuseums as a branch of the destiny media , as mention by Lumley (Mclean 1997 Museums are instruments of communication , a museum display being a branch of the massmedia (Brawne 1965 Hudson 1977 Hodge and d Souza 1979 . As Lumley argues ,The notion ofthe museum as a collection for scholarly use has been largely replaced by the idea of the museumas a means of communication (Lumley 1988 :15(Mclean , 1997One way of funding is by appealing to politicians and aligning with advocacy groups . This will bediscussed in the next sectionii . Politicians , Communication channels , and Interest Groups Tony Schirato and Susan Yell (2000 , in Communication and Cultural Literacy , notethat politicians are attentive to communications channels Schirato relates the recital onBill Clinton s view on T .V . violenceBill Clinton and other American politicians argue that the representation of violence on television`does a violence to children . This issue is taken up in an consequence of the Simpsons , where Marge Simpson , horrified by what her kids are watching on the cartoon `Itchy and Scratchy mobilisescommunity opinion to force the entanglement to censor the violence . Instead of Itchy and Scratchyblowing each other up , they sit in rocking chairs on the verandah potable lemonade and beingnice to each other (Schirato Yell , 2000Schirato and Yell use this anecdote to illustrate the point that Marge Simpson was able to exert5 compel on the networks with advocacy groups . A second point of emphasis in Schiato andYell s work is that politicians pay attention to communications channels that come to their interestgroups (in this case , the interest group is the parents of young childrenWith regard to marketing museums , this suggests that marketers shouldpresent the specific strengths of their museum (say , for example it has an abundanceof Spanish paintings ) to a politician whose programs have served the Spanishsegment of the population in to gain more favorable results from fundraising campaigns Michael Suman , in Advocacy Groups and the Entertainment Industry (2000 discussed the effectthat interest groups have of late been exerting on museumsInterest groups are a vital component of our popular system . They wield play in many realms of society , including those of the arts and entertainmentThe chapters in this volume outline many contributions interest groups have madein relation to the world of television . In some(prenominal) television and beyond , many interestgroups have played a key utilisation in educating and informing the American publicabout significant issues , and in doing so they have served to stimulate all important(predicate)public debate . Unfortunately , the influence of interest groups is not always positiveToday there is evidence that some of these groups choke off prevent , and distort publicdebate of significant issues , rather than encourage it . resume this to the fact thatpowerful economic forces discourage open debate in our society , and you have cause for concern6That interest groups are having oppose effects on debate is evident outside therealm of the mass media . For example , museums are now subjected to anunprecedented amount of scrutiny and pressure from interest groups . Many groupsnow insist on exerting their influence at the earliest stages of planning a show , andmore and more are happy at getting their points of view incorporated . Somehave even been successful at closing a show wholly . The Library of Congresshastily dismantled an sight about the architecture of slave quarters because ofcomplaints by African Americans that some of the roles presented of slaves andslave quarters were nauseous . The Smithsonian drastically altered an exhibit on theEnola Gay and the bombing of Hiroshima after receiving complaints from groupsof military veterans such as the American server . The groups were upset that theJapanese were shown as victims and that the bomb was not credited with endingthe fight . The result was a bland commemoration , devoid of version so as toavoid any possible offense . uniform industry lobbyists objected to anotherSmithsonian exhibit , this one on the history of sweatshops because it have amodel of a sweatshop in which clothing , as opposed to some other type of productwas produced . Similar activities are evident in the realm of theater(Suman Rossman , 2000 , p1157The objections of these interest groups must be weighed by museum marketers beforemaking an exhibition . However , the presence of resistance to exhibits must notdeter the museum marketers from pushing through with their plans Mclean (p .129 , in Marketing the Museum , notes thatCommunication in the museum includes `those aspects of the institution that impinge either onthe museum s take to , or on the general get laid of the bawl out (Hooper-Greenhill 1994 :50 . Inother words , communication is reflected in the entire experience of the museum . Themuseum s core product , its exhibition , together with its information functions , its infrastructureand its support services , are all communicating a contentedness to the public . The management ofaccess to the museum also contributes to the overall image of the museum , some(prenominal) throughphysical and psychological access , and through promotion of information concerning themuseum . The image of the museum develops attitudes in the public which in turn is theagglomeration of the product , approachability , and promotion(Mclean , 1997 ,.

129Thus , museum marketers will also need to consider the aspects that contribute to the `entireexperience of the museum such as the product , the infrastructure , and support servicesAll of these aspects play a part in communicating the message of the museumLinking Museums to Advocacy groupsThomas Streeter , in Suman Rossman s Advocacy Groups and the Entertainment Industry(2000 , p77 ) defines an advocacy group as `part of political organizing , useful and perhapsnecessary fo protecting the rights of a minority group or marginalized interest In the samework , Robert Pekurny observed that the influence of advocacy groups has declined , attributingthis to the increase in the number of media outletsOne of the two major strategies employed by advocacy groups has been thethreat of a boycott of advertisers who conferrer specific controversial shows and /or8of the plan /media entity itself . Groups have leveled these threats throughletter-writing campaigns and press conferences and at annual conventions . Thelatest wrinkle has been to cross-boycott a conglomerate , as manifest by theSouthern Baptist rule s threat to boycott Disney / ABC because of allegedlypro-gay and anti-Christian broadcast programming content and the company ssame-sex domestic partners policy . The Convention has aimed its boycott not onlyat the company s media operations , but also at its theme parks merchandise , andother enterprises . These threats have doomed whatever power they may have once had forseveral reasons . First , almost of the threats have failed to pan out Second , there hasbeen a significant increase in number of both advocacy groups and media outletsMessages can not be as effectively delivered as there are too many voices(Suman Rossman , 2000 ,.105Marketers for museums will need to take this into account in formulating theirfundraising campaigns . For instance , if a museum marketer aims to project his museumas aligned with a particular advocacy group - then that group should be consistently tiedwith the museums image through the different marketing distribution materialsEffective Fundraising for the MuseumStanley Weinstein (2002 , in The discern Guide to Fundraising Managementpointed out the common misconception that grants are the most important source offunding for non-profit organizationsThe other widespread myth about grants is that they are the most importantpart of any not-for-profit organization s funding pattern This issimply not true . Remember that 82 portion of all contributions comesfrom individuals Bequests account for another 6 percentage Corporatephilanthropy accounts for approximately 5 percent of annual contributions9Thus foundation support approximates only 7 percent of private sector annualcontributions . Grants come from three main sources governmentfoundations , and corporations . apiece grant is an implicit or explicit agreement orcontract (Weinstein , 2002 , p203Weinstein also notes that grants are a significant source of funding for nonprofitorganizations (and accordingly , for museumsGrants are the lifeblood of many not-for-profit organizations -especially those with long-term relationships with their major funders . The size of grants varies greatly from modest sums for grassroots organizationsto multimillion-dollar grants for well-established institutions . Yet , as importantas they are , grants are still surrounded by some common mythsThe most common myth is that writing grants is difficult Actually , anyo radicalho can follow directions and write clear , simple sentences can writea successful grant proposal (Weinstein , 2002 ,p203 Weinstein also emphasizes that an effective fundraising proposal consists of a clearcase statement : a clear of how the funds will be used and who will benefit fromthe programs and servicesThe first task of fundraising is to understand the rationale for the appealfundraising professionals call this rationale the case for support or the casestatement . It might be more helpful to think in terms of scripts - a body of10language that tells any prospective admirer how the funds will be usedand who will benefit from the programs and servicesSo , a not-for-profit organization s case statement answers the questions How does this force help multitude Who do we help What vital servicesdo we offer What is our agency s treat record What are the organization splans for the future Why does this agency merit supportFrom the donor s perspective , institutions do not have needs . peopledo . Too often not-for-profit appeals are based on statements such as Asthe winter months approach , our organization is veneer a mounting deficitWe need your support to keep our doors open(Weinstein , 2002 ,.59Weinstein s withdraw indicates an important target audience for museum marketers : the individualswho frequent museums , rather than corporations 11V . ConclusionsAdorno and Horkheimer s cultural theory provided a framework from which thechanges in the art scene particularly in the funding of museums can be understood . The shiftfrom government funding to independent funding was noted in the work of Fiona Mclean(1997 . The shift in the role of the museum from a scholarly venue to a communicationschannel was also noted in Mclean s work . A new direction for museum fundraisingcampaigns is indicated by the studies of Suman Rossman (2000 , who suggested the linkage to advocacy groups and Schirato Yell (2000 ) who indicated that politicians are always alert tocommunications channels that serve their particular interest groups Stanley Weinstein s study(2002 ) further narrowed the target audience for museum marketers to individuals who frequentmuseums , indicating that this group provides a greater likelihood of funding than governmentcorporations , or foundations . Through an examination of the selected works , the changes in thefunding of museums have been evaluated and new directions for fundraising campaigns havebeen identified References1 . Schirato , Tony Yell , Susan (2000 ) Communication and Cultural LiteracyAn IntroductionSt . Leonards , N .S .W : Allen Unwin . p522 . Weinstein , Stanley (2002 ) The sodding(a) Guide to Fundraising ManagementNew York : John Wiley Sons . p1253 . Suman , Michael Rossman , Gabriel (eds (2000 ) Advocacy Groups and the EntertainmentIndustry . Westport , CT . Praeger Publishers br.774 . Cook , Deborah (2004 ) Adorno , Habermas , and the Search for a Rational SocietyNew York : Routledge . .105 . Milner , Andrew (2002 . Contemporary Culture TheoryCrows Nest , N .S .W : Allen Unwin ,.526 . Mclean , Fiona (1997 ) Marketing the MuseumLondon : Routledge . p156 p...If you want to get a full essay, decree it on our website: Orderessay

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