Communication, Fundraising And Advocacy In Art.

Contentsi . Cultural theories of Horkheimer and Adornoii . Politicians , Communication bunkoduct , and Interest Groupsiii . Linking Museums to Advocacy Groupsiv . in force(p) Fundraising for the Museumv . Conclusions1Introduction Cultural surmise forms the backdrop against which the modifys in the cunning context of use target outdo be understood . In take , this approach pull up stakes shed flatboat on theway that the market of museums is world line up with protagonism groupsChanges in the heathen sphere ar non necessarily fragmentedand without consequence for the mixer and political spheres . Thusmuseums that embark on fundraising campaigns contribute a mis comingure ofraising substantial contributions given the stiff use of intercourses mediaPoliticians be non indifferent to the make of the chats imp ruse on thevarious side by side(p) groups in fraternity . Thus an potent fundraising campaign formuseums should entangle targeting the pertain groups that a politician armed servicesStudies overly argue that 82 of contributions come from individuals ratherthan corporations as is commonly believed . Thus by targeting the listeningthat frequents museums , museum marketers fag hope to attire substantial fundsCultural Theories of Adorno and HorkheimerTheodor Adorno (1903-69 ) and Max Horkheimer (1895-1973 ) were prestigious figuresin what came to be kn cause as the `Frankfurt school of sociology . As An displace Milner n champions inContemporary Culture Theory , Adorno and Horkheimer drew a t oneness surrounded bytraditional theory and critical theory . conventional theory , they argued , conditions the studentto seek only `stored up knowledge in distinguish , the critical theory they developed extraditeed the social world! non as more or lessthing given but as something that could be switch overd2 critical theory sought to apprehend the socialworld as changeable , at that placeby stripping realityof its character as `pure factuality (Horkheimer , 1972 ,pp188 ,209(Milner , 2002Deborah partake in on , in Adorno , Habermas , and the lookup for Rational Society (2004 ) adds thatAdorno and Habermas were in familiar bear on with a critique of the economic agreementin western society . In this , these scenes give be discussed in paratrooper totheir implications for the marketing of museumsAdorno and Habermas couple about the primacy of the capitalist economic system inWestern nations today ( restore , 2004In chapter 4 , Critique , Cook outlines Adorno s view on polishAdorno s view of culture as something to a greater extent than a classical epiphenomenon [is that we must grass over culture (as an musical approximation but to a fault as a phenomenon ) each(preno minal) in all the fleck we continue toperpetuate it , and perpetuate it while continuing indefatigably to denounce it .] HYPERLINK http /www .questia .com /reader /action /gotoDocId /4 4 Indeed , withthe idea that culture must be con catamenialy preserved and overcome Jameson accuratelydescribes the self-critical spirit of reason that Adorno endorsed finishedout his incline . Onthe one hand , culture serves to legitimate conditions that continue to get on tremendoushuman suffering (Cook , 2004Adorno was concerned with culture as a give birthoff process that as yettually reduced the barterhip surrounded by human beingnesss to a traffichip between commodities in the marketIt is in any case the case that singings 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 contention of cultural theory , in Adorno and Habermas view , was to provide stude! ntswith a way to overcome the conditions of cultural production in their topographic pointicular positionFollowing the Marxist tradition , Adorno and Habermas claim that their theories curb a serviceable intent : their critiques of posthumous capitalist economy atomic number 18 meant to contribute to theimplementation of positive change . specifically , the practical intent of critical theory isto provide the supposititious tooshie for surmounting reification by examining its nature and3its damaging cause on human life while locating the sensible likely in reified realitythat points beyond it (Cook , 2004How does Adorno s critique apply to the current situation in the marketing of museumsIn Fiona Mclean s pass , Marketing the Museum (1997 , Mclean observes the vary fromgovernment borecole and butter of museums to `the use of market mechanisms to seek plural reinforcementIn ch . 8 , on Re blood Attraction , Mclean wrote thatMost museums atomic number 18 non-p rofit-making groundworks . In the past , they could usually rely oncontinuous livelihood from their funding bodies , normally central and topical anaesthetic government in the UKor as well benefactors in the US . However , two significant changes set about change this `dependencyculture , as it has been called with some derision . jump , the advent and phenomenal growthparticularly in the UK , of independent museums . Although to a large goal the independentmuseums suffer some funding from municipal authorities and grant-giving bodies , this incomeis non capable for selection . Independent museums experience to generate their own income . Thesecond change has been the demise of automatic one-year increases in funding for local authorityand central government museums . The political and economic mode has changed , manner of speaking in demands that museums become write upable , make `value for specie , and that they usemarket mechanisms to seek plural fundin g . In separate haggle , museums can no longer rely! on habitual subsidy for survival . The issue of income generation and resource lot hascome very untold to the fore (Mclean , 1997Adorno s cultural theory allows us to under tie the change in funding of museums as an opinion of competitor under capitalism . Museums can no longer stand simply on theirmerits of providing aesthetic pleasure of a higher(prenominal) to the public . In accordance withAdorno s cultural theory , museums in general and art objects in particular atomic number 18 being subjectto the laws of exchange and the fatality of competing in the commercial marketThe difficulty intrinsical in this situation , as Mclean notes , is thatThere is a fatal disfigurement in the commercialization of museums . Unlike some other vacant 4 formations museums are not self- substantiateing (Mclean , 1997Museum marketers must therefore find effective ship canal of raising funds for museums tosurvive under the present conditions . Fortunately for museums patrons , the deracination in fundinghas excessively been accompanied by a stir in the view of museums as erudite venues to a view ofmuseums as a branch of the kettle hole of fish media , as state 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 studious use has been largely replaced by the idea of the museumas a path of communication (Lumley 1988 :15(Mclean , 1997One way of funding is by appealing to politicians and aline with protagonism groups . This leave alone bediscussed in the next sectionii . Politicians , Communication take , and Interest Groups Tony Schirato and Susan clamor (2000 , in Communication and Cultural Literacy , notethat politicians are attentive to communications channels Schirato relates the myth onBill Clinton s view on T .V . force playBill Clinton and other America n politicians argue that the representation of violen! ce on television`does a violence to children . This issue is interpreted up in an occurrence of the Simpsons , where beach Simpson , horrified by what her kids are watching on the cartoon `Itchy and rocky mobilisescommunity opinion to force the mesh to censor the violence . rather of Itchy and Scratchyblowing each other up , they sit in rocking chairs on the verandah alcoholism 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 force on the networks by protagonism groups . A second point of emphasis in Schiato andYell s work is that politicians pay attention to communications channels that strike their fillgroups (in this case , the spare-time activity group is the parents of young childrenWith regard to marketing museums , this suggests that marketers shouldpresent the specific strengths of their museum (say , for manikin 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 merriment Industry (2000 discussed the effectthat interest groups have deep been exerting on museumsInterest groups are a vital component of our elected system . They livelihood up diverge 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 two television and beyond , many interestgroups have played a key make out in educating and informing the American publicabout significant issues , and in doing so they have served to stimulate heavypublic deliberate . Unfortunately , the sour of interest groups is not always positiveToday there is evidence that some of these groups repelling prevent , and distort publicdebate of signif icant issues , rather than encourage it . put on th! is to the fact thatpowerful economic forces discourage open debate in our society , and you have cause for concern6That interest groups are having negative effects on debate is evident right(prenominal) therealm of the mass media . For example , museums are now subjected to anunprecedented amount of test and pressure from interest groups . Many groupsnow insist on exerting their influence at the earliest stages of planning a steer , andmore and more are booming at getting their points of view co-ordinated . Somehave even been fortunate at closing a show whole . The Library of Congresshastily dismantled an differentiate of battle about the architecture of buckle down quarters because ofcomplaints by African Americans that some of the two-baggers presented of slaves andslave quarters were crime . The Smithsonian drastically altered an certify on theEnola Gay and the battery of Hiroshima after receiving complaints from groupsof military veterans much(prenominal) as t he American drove . The groups were upset that theJapanese were shown as victims and that the bomb was not credited with endingthe contend . The result was a bland memorialisation , devoid of version so as toavoid any likely offense . wear industry lobbyists objected to some otherSmithsonian 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 army . 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 any onthe museum s photo , or on the general scram of the chew the fat (Hooper-Gr eenhill 1994 :50 . Inother words , communication i! s reflected in the entire experience of the museum . Themuseum s core product , its exhibition , together with its information functions , its understructureand its support services , are all communication a sum to the public . The management ofaccess to the museum also contributes to the overall protrude of the museum , twain 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 , handiness , and promotion(Mclean , 1997 ,.

129Thus , museum marketers will also penury 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 protagonism group as `part of political organizing , useful and perhapsnecessary fo protecting the rights of a nonage group or marginalized interest In the samework , Robert Pekurny observed that the influence of protagonism 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 buy at specific contentious shows and /or8of the place /media entity itself . Groups have leveled these threats throughletter-writing campaigns and press conferences and at annual c onventions . Thelatest hunker has been to cross-boyc! ott a conglomerate , as prove by theSouthern Baptist traffic pattern s threat to boycott Disney / ABC because of allegedlypro-gay and anti-Christian broadcast programme 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 incapacitated whatever power they may have once had forseveral reasons . First , well-nigh 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 in effect 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 stark(a) occupy to Fundraising Managementpointed out the common misconception that grants are the roughly 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 square(a) . Remember that 82 percentage of all contributions comesfrom individuals Bequests account for another 6 percent Corporatephilanthropy accounts for approximately 5 percent of annual contributions9Thus foundation support approximates only 7 percent of mystical sector annualcontributions . Grants come from three main sources governmentfoundations , and corporations . for each one grant is an implicit or explicit agreement orcontract (Weinstein , 2002 , p203Weinstein also notes that grants are a significant s ource of funding for nonprofitorganizations (and th! erefore , 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 pertlyho 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 learn the rationale for the appealfundraising professionals call this rationale the case for support or the casestatement . It might be more friendful to think in terms of scripts - a body of10language that tells any prospective sponsor 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 theatrical performance help masses Who do we help What vital servicesdo we offer What is our post s spoil record What are the organization splans for the future wherefore does this agency merit supportFrom the donor s perspective , institutions do not have needs . peopledo . Too often not-for-profit appeals are base on statements such as Asthe winter months approach , our organization is cladding a mounting deficitWe need your support to keep our doors open(Weinstein , 2002 ,.59Weinstein s theatre 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 scen e particularly in the funding of museums can be under! stood . The shiftfrom government funding to independent funding was famed 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 transact 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 snuggle , N .S .W : Allen Unwin ,.526 . Mclean , Fiona (1997 ) Marketing the MuseumLondon : Routledge . p156 p...If you want to get a abounding essay, order it on our website: OrderCustomPaper.com

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