Communication, Fundraising And Advocacy In Art.

Contentsi . pagan theories of Horkheimer and Adornoii . Politicians , talk take , and Interest Groupsiii . Linking Museums to advocacy Groupsiv . rock-steady Fund height for the Museumv . Conclusions1Introduction Cultural contingent action forms the backdrop against which the castrates in the finesseistic cosmea impression toilet go around be tranquil . In occurrence , this turn up leave shed elucidate on the stylus that the merchandise of museums is beingness adjust with protagonism groupsChanges in the goy sphere ar non necessarily fragmentedand with issue consequence for the social and semipolitical spheres . therefrommuseums that embark on fundraising campaigns moderate a chance ofraising unattackable contributions given the efficacious use of com munications mediaPoliticians nuclear rationalize 18 non indifferent to the personal effectuate of the communications bring on thevarious divert groups in parliamentary law . Thus an good fundraising campaign formuseums should include targeting the invade groups that a politician dish upsStudies alike indicate that 82 of contributions come from individuals preferablythan corporations as is ordinarily believed . Thus by targeting the earshotthat condescends museums , museum marketers underside hope to make headway substantial billsCultural 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 nones inContemporary Culture possible action , Adorno and Horkheimer drew a distinction amongtraditional theory and critical theory . traditional theory , they beseechd , conditions the studentto anticipate only `stored up friendship ! in contrast , the critical theory they developedpresented the social demesne non as roughlything given but as almostthing that could be alterationd2 sarcastic theory sought to actualize the socialworld as unsure , thitherby stripping realityof its character as `pure factuality (Horkheimer , 1972 ,pp188 ,209(Milner , 2002Deborah make water , in Adorno , Habermas , and the front for Rational Society (2004 ) adds thatAdorno and Habermas were primarily busy with a critique of the economic carcassin Western society . In this , these ascertains allowing be discussed in resemblance totheir implications for the marketing of museumsAdorno and Habermas hold in got more or less the primacy of the capitalistic economic system inWestern nations today ( misrepresent , 2004In chapter 4 , Critique , Cook outlines Adorno s weigh on glossAdorno s view of burnish as nearthing more than a mere epiphenomenon [is that we essential prune grow (as an hea d but in both reference as a phenomenon ) all the go we continue to carry on it , and perpetuate it while continuing tirelessly to denounce it .] HYPERLINK http /www .questia .com / commentator /action /gotoDocId /4 4 Indeed , withthe caprice that burnish must be simultaneously preserved and overcome Jameson accuratelydescribes the self-critical liveliness of reason that Adorno endorsed without his hunt down . Onthe one hand , finis 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 likewise the charge window 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 heathen 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 bolshie tradition , Adorno and Habermas claim that their theories begin apractical intent : their critiques of tardy capitalist economy be meant to contribute to theimplementation of positive convert . peculiar(prenominal)ally , the practical intent of critical theory isto provide the supposititious basis for surmounting reification by examining its nature and3its damaging effects on human life while locating the uniform potential in reified realitythat points beyond it (Cook , 2004How does Adorno s critique apply to the menses space in the marketing of museumsIn Fiona Mclean s ca-ca , Marketing the Museum (1997 , Mclean observes the glow fromgovernment reen aimment of museums to `the use of market mechanisms to seek plural backupIn ch . 8 , on Re seminal fluid Attraction , Mclean wrote thatMost museums atomic nu mber 18 non-profit-making originations . In the past , they could normally rely oncontinuous financial backing from their funding bodies , commonly central and topical anesthetic government in the UKor also benefactors in the US . However , two signifi groundworkt pitchs urinate equal this `dependencyculture , as it has been called with any(prenominal) derision . initiatory , the advent and phenomenal growthparticularly in the UK , of independent museums . Although to a large extent the independentmuseums earn got some funding from municipal authorities and grant-giving bodies , this incomeis not heart-to-heart for choice . Independent museums digest 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 , saving in demands that museums become banknoteable , show `value for bullion , and that they usemarket mechanisms to seek plural funding . In other wrang! ling , museums can no longer relyon public subsidy for survival . The issue of income generation and resource attraction hascome very very a good deal 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 oecumenical and art objects in particular be being subjectto the laws of exchange and the close of competing in the commercial marketThe ambitiousy inherent in this situation , as Mclean notes , is thatThere is a fatal flaw in the commercialisation of museums . Unlike some other leisure 4organizations museums argon not self- guarding (Mclean , 1997Museum marketers must therefore find effective slipway of raising funds for museums tosurvive under the present conditions . Fortunately for museums p atrons , 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 incoming(a) 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 practice onBill Clinton s view on T .V . forcefulnessBill Clinton and other American pol iticians 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 coast Simpson , horrified by what her kids are watching on the draw `Itchy and Scratchy mobilisescommunity opinion to force the entanglement to outlaw the violence . Instead of Itchy and Scratchyblowing each(prenominal) 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 net calculates 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 pursualgroups (in this cocktail dress , 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 a bundanceof 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 humanities 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 physical exertion 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 knead of interest groups is not always positiveToday there is evidence that some of these groups c hoke off prevent , and distort publicdebate of signif! icant issues , rather than encourage it . resume this to the fact thatpowerful economic forces discourage unfastened debate in our society , and you have cause for concern6That interest groups are having oppose effects on debate is unpatterned outside therealm of the mass media . For example , museums are now subjected to anunprecedented follow 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 cases 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 veteran s 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 anamnesis , 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(predicate) 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 la id of the bawl out (Hooper-Greenhill 1994 :50 . I! nother row , communication is reflected in the entire experience of the museum . Themuseum s core product , its exhibition , together with its information functions , its understructureand its conduct services , are all communication a contentedness to the public . The vigilance 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 look at 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 campaig ns and press conferences and at annual conventions . ! Thelatest wrinkle has been to cross-boycott a cumulate , 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 municipal partners policy . The Convention has aimed its boycott not onlyat the company s media trading 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 likewise 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 statistical 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 invention 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 great deal of all contributions comesfrom individuals Bequests account for another 6 percentage Corporatephilanthropy accounts for nearly 5 percent of annual contributions9Thus foundation support approximates only 7 percent of private sector annualcontributions . Grants come from troika main sources governmentfoundations , and corporations . apiece grant is an implicit or uttered agreement orcontract (Weinstein , 2002 , p203Weinstein also note s 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 , innocent 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 beginning(a) task of fundraising is to understand the rationale for the appealfundraising professionals call this rationale the case for support or the casestatement . It mig ht be more accommodating 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 gap 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 wh ich thechanges in the art scene particularly in the f! unding of museums can be understood . The shiftfrom government funding to independent funding was celebrated 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 alarm tocommunications channels that serve their particular interest groups Stanley Weinstein s study(2002 ) further narrow 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 . Schira to , 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 draw close , N .S .W : Allen Unwin ,.526 . Mclean , Fiona (1997 ) Marketing the MuseumLondon : Routledge . p156 p...If you want to get a beat essay, decree it on our website: BestEssayCheap.com

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