Communication, Fundraising And Advocacy In Art.

Contentsi . Cultural theories of Horkheimer and Adornoii . Politicians , Communication stingingduct , and Interest Groupsiii . Linking Museums to Advocacy Groupsiv . in force(p) Fundraising for the Museumv . Conclusions1Introduction Cultural opening forms the backdrop against which the modifys in the cunning pose stooge outdo be understood . In active , this approach pull up stakes shed get away 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 tender and political spheres . Thusmuseums that embark on fundraising campaigns contribute a run into ofraising substantial contributions given the stiff use of dialogues mediaPoliticians be non indi fferent to the make of the discourses conduct on thevarious chase groups in fraternity . Thus an legal fundraising campaign formuseums should involve targeting the raise groups that a politician armed servicesStudies overly request that 82 of contributions come from individuals quite anthan corporations as is commonly believed . Thus by targeting the listeningthat frequents museums , museum marketers abide hope to attire substantial fundsCultural Theories of Adorno and HorkheimerTheodor Adorno (1903-69 ) and Max Horkheimer (1895-1973 ) were influential figuresin what came to be kn give birth as the `Frankfurt school of sociology . As An displace Milner n unriv solelyeds inContemporary Culture Theory , Adorno and Horkheimer drew a t champion surrounded bytraditional theory and critical theory . conventional theory , they argued , conditions the studentto seek only `stored up knowledge in telephone circuit , the critical theo ry they developed arrayed the social world ! non as somewhatthing given but as something that could be switch overd2 little theory sought to apprehend the socialworld as changeable , at that placeby stripping realityof its character as `pure factuality (Horkheimer , 1972 ,pp188 ,209(Milner , 2002Deborah equal on , in Adorno , Habermas , and the lookup for Rational Society (2004 ) adds thatAdorno and Habermas were princip whollyy bear on with a critique of the economic outlinein westward society . In this , these scenes give be discussed in similitude 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 more(prenominal) than a continent epiphenomenon [is that we mustiness grass over culture (as an musical estimate but to a fault as a phenomenon ) all the fleck 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 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 along tremendoushuman suffering (Cook , 2004Adorno was concerned with culture as a tax return process that as yettually reduced the dealinghip amid human existences to a affinityship between commodities in the marketIt is as well the case that relations between the living human producers of commodities ar transformed into relations between things the circulation of commodities on the market determines relations between individual producers (Cook , 2004The disceptation of cultural theory , in Adorno and Habermas view , was to provide studentswith a way to overcome the conditions of cultural productio! n in their slipicular positionFollowing the loss tradition , Adorno and Habermas claim that their theories curb a practicable intent : their critiques of posthumous capitalism argon meant to contribute to theimplementation of positive change . specifically , the practical intent of critical theory isto provide the supposititious posterior for surmounting reification by examining its nature and3its damaging cause on human life while locating the sensible probable 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 prize and butter of museums to `the use of market mechanisms to seek plural backingIn ch . 8 , on Re seeded player Attraction , Mclean wrote thatMost museums be non-profit-making mental homes . In the past , they could usually rely oncontinuous funding from their fun ding bodies , normally central and topical anaesthetic government in the UKor as well as benefactors in the US . However , two significant changes support change this `dependencyculture , as it has been called with some derision . jump , the sexual climax and phenomenal growthp dodgeicularly in the UK , of independent museums . Although to a large design the independentmuseums suffer some funding from municipal authorities and grant-giving bodies , this incomeis non capable for selection . Independent museums admit 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 climate has changed , manner of speaking in demands that museums become write upable , award `value for specie , and that they usemarket mechanisms to seek plural funding . In separate haggle , museums can no longer relyon widely distributed subsidy for surviva l . The issue of income generation and resource haul! age hascome very untold to the fore (Mclean , 1997Adorno s cultural theory allows us to under turn out the change in funding of museums as an impression of ambition 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 are being subjectto the laws of exchange and the fatality of competing in the commercial marketThe difficulty indispensable in this situation , as Mclean notes , is thatThere is a fatal disfigure in the commercialization of museums . Unlike some other vacuous 4 shapings 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 as well as been accompanied by a stir in the view of museums as knowing venues to a view ofmuseums as a branch of the middle ear 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 donnish use has been largely replaced by the idea of the museumas a subject matter of communication (Lumley 1988 :15(Mclean , 1997One way of funding is by appealing to politicians and align with protagonism groups . This lead bediscussed in the next sectionii . Politicians , Communication convey , and Interest Groups Tony Schirato and Susan call in (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 American politicians argue that the representation of violence on television`does a violence to children . This issue is interpreted up in an occur! rence of the Simpsons , where oleo Simpson , horrified by what her kids are watching on the cartoon `Itchy and annoying mobilisescommunity opinion to force the mesh to censor the violence . alternatively 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 abide attention to communications channels that strike their provokegroups (in this case , the sake group is the parents of young childrenWith regard to marketing museums , this suggests that marketers shouldpresent the specific strengths of their museum (say , for causa it has an abundanceof Spanish paintings ) to a politician whose programs have served the Spanishsegment of the populatio n in to gain more favorable results from fundraising campaigns Michael Suman , in Advocacy Groups and the sport Industry (2000 discussed the effectthat interest groups have deep been exerting on museumsInterest groups are a vital component of our elected system . They observe 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 exercising in educating and informing the American publicabout significant issues , and in doing so they have served to stimulate heavypublic fence . Unfortunately , the exploit of interest groups is not always positiveToday there is evidence that some of these groups cash in ones chips prevent , and distort publicdebate of significant issues , rather than encourage it . set up on this to the fact thatpowerful economic for ces discourage open debate in our society , and you h! ave cause for concern6That interest groups are having negative effects on debate is evident out of doors therealm of the mass media . For example , museums are now subjected to anunprecedented amount of exam and pressure from interest groups . Many groupsnow insist on exerting their influence at the earliest stages of planning a stage , andmore and more are booming at getting their points of view integrate . Somehave even been sure-fire 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 evidence on theEnola Gay and the battery of Hiroshima after receiving complaints from groupsof military veterans much(prenominal) as the 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 commemoration , devoid of version so as toavoid any mathematical 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 exhibition . However , the presence of resistance to exhibits must notdeter the museum marketers from pushing with 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-Greenhill 1994 :50 . Inother words , communication is reflected in the entire experience of the museum . Themuseum s core product , its ex! hibition , together with its information functions , its baseand its support services , are all communication a sum to the public . The management ofaccess to the museum also contributes to the overall get wind 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 select 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 pro tecting the rights of a nonage 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 ostracise of advertisers who buy at specific arguable shows and /or8of the place /media entity itself . Groups have leveled these threats throughletter-writing campaigns and press conferences and at annual conventions . Thelatest communication channel has been to cross-boycott 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 , close 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) transcend to Fundraising Managementpointed out the common misconception that grants are the intimately 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 ho nest . 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 secluded 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 source of funding for nonprofitorganizations (and therefore , 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 scan the rationale for the appealfundraising professionals call this rationale the case for support or the casestatement . It might be more protagonistful to think in terms of scripts - a body of10language that tells any prospective giver 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 dresser s spoil record What are the organization splans for the future why does this agency merit supportFrom the d onor s perspective , institutions do not have needs . peopledo . Too often not-for-profit appeals are found on statements such as Asthe winter months approach , our organization is cladding a mounting deficitWe need your support to take 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 scene particularly in the funding of museums can be understood . The shiftfrom government funding to independent funding was noteworthy 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 gene linkage to advocacy groups and Sch irato 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 SocietyNe w York : Routledge . .105 . Milner , Andrew (2002 . Contemporary Culture TheoryCrows nose , N .S .W : Allen Unwin ,.526 . Mclean , Fiona (1997 ) Marketing the MuseumLondon : Routledge . p156 p...If you want to get a plentiful essay, order it on our website: OrderCustomPaper.com

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