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This edited open access volume offers a comprehensive analysis of new and traditional funding models for the arts and culture. In the economic and political contexts of reduced art funding, the book takes an objective value-based approach to demonstrate how financial sustainability in the arts can be achieved via a range of top-down or bottom-up mechanisms which are valued either in terms of institutional or crowd-based legitimacy.
The book aims to offer both a scholarly interpretation of established and emerging funding and financing practices within the cultural and creative sector, as well as guidance for artists, creators, and cultural programmers through various case studies and multiple examples of current practices. Contributions are divided into three sections. Section one outlines the most important traditional tools and models, while the second part covers the key contemporary practices premised on the use of digital platforms. The final part introduces several case studies, looking at how museums use digital tools, how public and private partnerships fund cultural heritage, how cultural institutions raise money, the monetisation of video games, and a community crowdfunding project. The objective of this volume is to demonstrate that while traditional models show no signs of being supplanted, digitalisation has facilitated the emergence of new forms. Such an evolution has consequences for creators of works as well as those willing to support them. The contributions address these issues by investigating and analysing the individual or combined adoption of traditional and new funding and financing models in a post-digital context.
Inhaltsverzeichnis
Chapter 1: Introduction.- Chapter 2: Direct government contribution to culture: legitimacy, financial mechanisms and level of spending compared internationally.- Chapter 3: Funding the Arts and Culture Through Tax Incentives.- Chapter 4: Philanthropic fundraising and sponsorship: the arts marketing perspective on financing cultural projects based in the North American Context.- Chapter 5: Patronage in the arts: theories and contemporary challenges.- Chapter 6: Copyright s Contribution to Rewarding Creators and the Digitalization Paradox.- Chapter 7: Trends in Crowdfunding for Arts and Culture.- Chapter 8: Matched-Money in the Arts and Culture: Conceptualising Online and Offline Matchfunding Models.- Chapter 9: I would do anything for funds, but I won t do that : On artists' reluctance to adopt investment crowdfunding and possible ways to overcome it.- Chapter 10: The rise of online crowd-patronage: models, challenges and providing security to the creative worker.- Chapter 11: Beyond Likes: Social Media Remuneration and Financing of Digital Cultural Production.- Chapter 12: Making Money from Music Streaming: Benefits and Barriers.- Chapter 13: Digital funding and financing in museums and cultural heritage.- Chapter 14: Public-Private Partnerships: when different governance tools stimulate alternative funding of the heritage sector and beyond.- Chapter 15: (Co-)Creating from nothing , (co-)producing digitally: The art of funding cultural projects through bottom-up collaboration and co-creation.- Chapter 16: Tainted Philanthropy in Arts Funding: The Case Study of National Portrait Gallery in London and The Sackler Trust.- Chapter 17: Securing funding for independent creative firms: Insights from video game monetization.- Chapter 18: Impact Investment for Cultural Projects: A Short Exploration.- Chapter 19: Conclusion.
Über den Autor / die Autorin
Carolina Dalla Chiesa is an Assistant Professor of Cultural Economics and Organizations at the Department of Arts and Culture, Erasmus University, Netherlands. Her research focus lies on the transformations of cultural markets post-digitalization and new forms of funding for the arts.
Anders Rykkja is a Lecturer in Arts and Cultural Industries Management at Queen’s University Belfast, Northern Ireland. His research interests include entrepreneurial finance and economics, managerial and organisational aspects of the cultural and creative industries, valuation of cultural goods and services, and music business studies.
Zusammenfassung
This edited open access volume offers a comprehensive analysis of new and traditional funding models for the arts and culture. In the economic and political contexts of reduced art funding, the book takes an objective value-based approach to demonstrate how financial sustainability in the arts can be achieved via a range of top-down or bottom-up mechanisms which are valued either in terms of institutional or crowd-based legitimacy.
The book aims to offer both a scholarly interpretation of established and emerging funding and financing practices within the cultural and creative sector, as well as guidance for artists, creators, and cultural programmers through various case studies and multiple examples of current practices. Contributions are divided into three sections. Section one outlines the most important traditional tools and models, while the second part covers the key contemporary practices premised on the use of digital platforms. The final part introduces several case studies, looking at how museums use digital tools, how public and private partnerships fund cultural heritage, how cultural institutions raise money, the monetisation of video games, and a community crowdfunding project. The objective of this volume is to demonstrate that while traditional models show no signs of being supplanted, digitalisation has facilitated the emergence of new forms. Such an evolution has consequences for creators of works as well as those willing to support them. The contributions address these issues by investigating and analysing the individual or combined adoption of traditional and new funding and financing models in a post-digital context.
