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Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks implies that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials and other issues concerning care and management of these artworks. By analysing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation (authenticity, artist’s intention, and the notion of ownership) while exploring how these concepts apply in contemporary art conservation. Based on original empirical research and cross-case analysis, this ground-breaking study offers a re-examination of traditional conservation values and ethics, and argues for a reassessment of the role of the conservator of contemporary art.

This eye-tracking study was designed to analyze the effect of artistic transformation of a photographic image to a painting on oculomotor behavior. The study employed unique set of stimuli, consisting of paintings and photographs used by authors of the paintings as direct source images. First, the differences in basic eye movement measurements and the explored area were investigated. In paintings, viewers moved their eyes quicker, and viewing was more dispersive. Second, relationship between the basic eye movement measurements and stylistic features (complexity, style expressivity and dynamism) as well as the top-down factor of expertise were analyzed. Furthermore, fixation maps of paintings versus photographs were compared and significant shifts were identified. The difference in fixation maps can be interpreted as a behavioral index of artistic transformations, including artist's intention (AI). In the light of the theoretical background of AI that includes even motor acts, the idea of using oculomotor behavior as an index of viewer's inference of AI was introduced.

PurposeWe propose an artistic logic of entrepreneurial action whereby individuals undertake entrepreneurial acts even without entrepreneurial intentions, creating a pretended reality through performance-like processes. We explore how these actions impact real-world entrepreneurship, challenging conventional venture creation and evaluation paradigms.Design/methodology/approachArtistic logic is developed and illustrated through an in-depth analysis of a qualitative case study of a pretend airline employing a constructivist-interpretive approach.FindingsWe identify four dimensions of artistic logic in entrepreneurial action, which underscore the capacity of artistic entrepreneurial performances to simulate real entrepreneurial experiences: leveraging a socio-economic situation, building an evocative image of a venture, attracting engagement and pretending.Practical implicationsThe findings have significant implications for venture creation, offering entrepreneurs a framework for conducting expansive prototyping to develop, evaluate and actualise opportunities. Additionally, the findings can enrich entrepreneurial education by highlighting the value of expansive prototyping that immerses student entrepreneurs in the opportunity as a creative process.Originality/valueFraming entrepreneurial action within the context of performance art as artistic logic bridges theoretical gaps between creativity, subversion and entrepreneurship, offering a novel perspective on venture simulation, creation and opportunity evaluation.

An American-influenced singing accent, referred to here as Pop Song English (PSE), is common in popular music throughout (and beyond) the Anglophone world. This article presents an analysis of the sung pronunciation of two variables (bath and nonprevocalic /r/) that distinguish New Zealand English (NZE) from American Englishes (AmE). The Phonetics of Popular Song (PoPS) corpus includes 154 performers, structured according to country of origin (NZ and the US) and musical genre (pop and hip hop). An auditory analysis was conducted for each variable, distinguishing between the NZE and PSE/AmE variants. Almost all New Zealand performers adopt the PSE variants at least some of the time, with greater adherence to the American model in pop than in hip hop. In the US, region determines hip hop, but not pop, artists’ degree of rhoticity. PSE represents a supralocal norm for pop music, while hip hop artists tend to use their ‘own accent’. (Pop Song English, singing accent, rap accent, supralocal norm, nonprevocalic /r/, trap–bath split, intentionality, language performance, pop music, hip hop, responsive style, initiative style)*

Musical brand placement is gaining strength as an advertising tool, as it allows brands to integrate non-intrusively into entertainment content. Song lyrics and music videos become an ideal advertising medium, where the artists themselves act as endorsers, connecting these brands with their vast fan communities and the general public. In this context, the main objective of this study is to analyze how the advertising strategies aligns with current consumption trends and the preferences of new generations. It examines how brands are incorporated into music videos and the lyrics of the Billboard Global 200 hits. This ranking features the songs with the highest number of streams, digital sales, and physical sales globally across more than 200 territories in 2023 and 2024. To achieve this, a hybrid methodology was employed, combining content analysis and an examination of advertising messages, specifically, the study of resemantization. The operationalisation of variables through the first research technique stands out as the innovative aspect of this study. This approach offers a quantitative tool for analysing brand presence in entertainment products, enabling broader application. The findings highlight how brands are seamlessly integrated into the music video landscape and how, in turn, brands serve as channels for the artist to convey the image they wish to project through their song and/or video. One of the main conclusions is the mutual transfer of values between the brand and the artist, underscoring the importance of musical brand placement in contemporary advertising strategies. La inserción de marcas en contenidos musicales está ganando fuerza como herramienta publicitaria, al permitir que las marcas se integren de forma no intrusiva en productos de entretenimiento. Las letras de canciones y los videoclips se convierten así en un soporte publicitario ideal, donde los propios artistas actúan como prescriptores, conectando dichas marcas con sus amplias comunidades de fans y con el público general. En este contexto, el principal objetivo de este estudio es analizar cómo estas estrategias publicitarias se alinean con las tendencias de consumo actuales y con las preferencias de las nuevas generaciones. Se examina cómo se incorporan las marcas en los videoclips y en las letras de las canciones que conforman el ranking Billboard Global 200. Esta clasificación incluye los temas con mayor número de reproducciones en streaming, ventas digitales y ventas físicas a nivel global, abarcando más de 200 territorios durante 2023 y 2024. Para ello, se ha empleado una metodología híbrida que combina el análisis de contenido con el examen de los mensajes publicitarios, en concreto, el estudio de la resemantización. La operacionalización de variables, a través de la primera técnica de investigación, es el aspecto innovador de este trabajo. Esta propuesta metodológica ofrece una herramienta cuantitativa para analizar la presencia de marcas en productos de entretenimiento, facilitando así su aplicación a otros contextos. Los resultados ponen de relieve cómo las marcas se integran de forma fluida en el universo visual de los videoclips y cómo, a su vez, estas funcionan como canales para que los artistas proyecten la imagen que desean transmitir a través de su canción y/o vídeo. Una de las principales conclusiones es la transferencia mutua de valores entre marca y artista, lo que subraya la importancia de la inserción de marcas musicales dentro de las estrategias publicitarias contemporáneas.

This paper presents a pioneering analysis of a distinctive engraved motif from the Pilbara region: the fat-tailed macropod (kangaroo). This stylistic analysis has used a combination of conventional qualitative and multivariate techniques with less commonly deployed geometric morphometrics analysis (GMA). Focusing on a distinctive engraved motif in Australia’s northwest, this study has quantified the stylistic characteristics of the fat-tailed macropod depictions by identifying the significant attributes that contribute to this motif’s schema. By using both multivariate analysis and GMA software, we have developed a more nuanced understanding of the synchronic and diachronic dimensions of this deep-time indigenous artistic tradition. Differing levels of stylistic homogeneity across this region are interpreted as distinctive signalling intentionality by the artists. Based on the precepts of information exchange theory, stylistic homogeneity is interpreted as indicating an open social system, while stylistic heterogeneity represents people signalling social difference(s). The geographic distribution of this distinctive motif, and its specific placement within sites demonstrates different inscribing behaviours across the Pilbara. This is interpreted as evidence for intentional identity production by Pilbara artists. GMA identifies that a major contributing factor to the variability in this motif form is in the distinctive depictions of posture and gait. Indigenous knowledge of kangaroo behaviours is demonstrated in these iconic Pilbara motifs.

Social media sites, as participatory artistic online platforms, have become popular spaces for amateur artists to exchange the creative artefacts of animation, comics and games (ACG) with others. Online social media platforms for ACG amateur artists offer interactive features for communication, information exchange and distance learning to facilitate connections among amateur artists worldwide. However, not too much of the available research has regarded investigating the determinative factors of ACG users’ behavior on social media. By integrating aspects of perceived interactivity and users’ willingness to exchange information, this study formulated a concept model to investigate the prerequisite factors of users’ “continuance use intention” on ACG social media sites. The snowballing method was used to recruit 367 participants who had experience in creating ACG works and using more than two ACG social media sites from the Japanese sub-cultural communities at a university in Northern Taiwan. The results of this study provided empirical evidence supporting perceived interactivity as a prerequisite factor for extending the technology acceptance model (TAM), perceiving interactivity, and supporting indicators such as continuance use intentions and the willingness to exchange information on ACG social media sites.

PurposeThis study aims to determine the influence of relationship marketing on consumer behavior in the fine arts sector. Specifically, it examines the relationship marketing dynamics that significantly impact art enthusiasts' intention to purchase and their satisfaction with the artist.Design/methodology/approachThe proposed model was tested through the “structural equation modeling” technique to explain how and to what extent each variable affected purchase intention and satisfaction. Using a paper-based and online survey method to gather data, the authors analyzed 303 responses from art students, art collectors and art dealers in Mongolia. Eight hypotheses, including two mediating hypotheses, were developed and tested.FindingsThe results indicated that relationship investment and communication significantly influence trust, satisfaction and purchase intention, while trust significantly influences satisfaction and purchase intention. The study also assessed the vital role of trust as a mediator.Practical implicationsThe study's results provide insights that may help artists, art collectors and art dealers promote and improve the sales of their art products. The interactions demonstrated between the construct reveal essential implications for art marketers interested in relationship marketing strategies.Originality/valueThis study is the first to explore the application of relationship marketing in the fine arts industry.

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: (1) there can be no accidental art, only deliberate and incidental art; (2) art’s intention-dependence entails the possibility of performative failure, but not of failed-art; and (3) art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation.

In the first half of 2020, the average sales volume of gallery operators declined due to the COVID-19 pandemic and art galleries faced a crisis relating to their sustainable operation. However, crypto art finance, which combines online sales with blockchain, is attracting a considerable amount of attention. Can the use of blockchain solve the problems encountered in today’s art trading market? Is it considered acceptable by participants in the art trading market? What factors affect the behavioral intentions of blockchain technology users? In this study, we discussed the relationship between perceived risks and the three external variables of trust, government support, and auction house initiative, as well as their impacts on user attitudes and behavioral intentions regarding blockchain. The results of this study verified key factors that will help to increase the use of blockchain and solve existing market issues. It will also promote the sustainable operation and development of art enterprises and the market.