Communication, Fundraising And Advocacy In Art.

Contentsi . Cultural theories of Horkheimer and Adornoii . Politicians , Communication defraudduct , and Interest Groupsiii . Linking Museums to Advocacy Groupsiv . in force(p) Fundraising for the Museumv . Conclusions1Introduction Cultural conjecture forms the backdrop against which the modifys in the cunning stage setting level outdo be understood . In supple , this approach pull up stakes shed readable 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 societal and political spheres . Thusmuseums that embark on fundraising campaigns contribute a occur ofraising substantial contributions given the stiff use of confabulations mediaPolitician s be non indifferent to the make of the communications channel on thevarious chase groups in fraternity . Thus an in force(p) fundraising campaign formuseums should embroil targeting the by-line groups that a politician armed servicesStudies overly channelize that 82 of contributions come from individuals sort ofthan corporations as is commonly believed . Thus by targeting the listeningthat frequents museums , museum marketers shtup hope to attire substantial fundsCultural Theories of Adorno and HorkheimerTheodor Adorno (1903-69 ) and Max Horkheimer (1895-1973 ) were potent figuresin what came to be kn receive as the `Frankfurt school of sociology . As An displace Milner n stars inContemporary Culture Theory , Adorno and Horkheimer drew a attribute surrounded bytraditional theory and critical theory . conventional theory , they argued , conditions the studentto seek only `stored up knowledge in agate line , the critical t heory they developed acquainted the social w! orld not as closelything given but as something that could be switch overd2 tiny theory sought to apprehend the socialworld as changeable , at that placeby stripping realityof its character as `pure factuality (Horkheimer , 1972 ,pp188 ,209(Milner , 2002Deborah cope with on , in Adorno , Habermas , and the lookup for Rational Society (2004 ) adds thatAdorno and Habermas were gener each(prenominal)y bear on with a critique of the economic formin horse opera 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 ( piddle , 2004In chapter 4 , Critique , Cook outlines Adorno s view on polishAdorno s view of culture as something to a greater extent than a upright epiphenomenon [is that we must(prenominal) grass over culture (as an musical piece but to a fault as a phenomenon ) only th e 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 oneness hand , culture serves to legitimate conditions that continue to get on tremendoushuman suffering (Cook , 2004Adorno was concerned with culture as a output process that as yettually reduced the avocationhip in the midst of human universes to a dealingship between commodities in the marketIt is in addition the case that social intercourses between the living human producers of commoditiesargon transformed into relations between things the circulation of commodities on the market determines relations between individual producers (Cook , 2004The inclination of cultural theory , in Adorno and Hab ermas view , was to provide studentswith a way to ! overcome the conditions of cultural production in their topographic pointicular positionFollowing the red ink tradition , Adorno and Habermas claim that their theories curb a unimaginative intent : their critiques of posthumous capitalist economy ar meant to contribute to theimplementation of positive change . specifically , the practical intent of critical theory isto provide the supposititious reason for surmounting reification by examining its nature and3its damaging cause on human life while locating the sensible strength 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 profits and butter of museums to `the use of market mechanisms to seek plural patronageIn ch . 8 , on Re get-go Attraction , Mclean wrote thatMost museums atomic number 18 non-profit-making instaurations . I n the past , they could unremarkably rely oncontinuous documentation from their funding bodies , normally central and topical anaesthetic government in the UKor in any case benefactors in the US . However , two significant changes fork over change this `dependencyculture , as it has been called with some derision . jump , the approaching and phenomenal growthp ruseicularly in the UK , of independent museums . Although to a large period the independentmuseums suffer some funding from municipal authorities and grant-giving bodies , this incomeis not capable for selection . Independent museums bemuse 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 , manner of speaking in demands that museums become write upable , turn out `value for specie , and that they usemarket mechanisms to seek plural funding . In separate haggle , museums can no longer relyon unr! estricted subsidy for survival . The issue of income generation and resource attractiveness hascome very untold to the fore (Mclean , 1997Adorno s cultural theory allows us to under take over the change in funding of museums as an center of disceptation 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 ecumenical and art objects in particular be being subjectto the laws of exchange and the fatality of competing in the commercial marketThe difficulty constituent(a) in this situation , as Mclean notes , is thatThere is a fatal blot in the commercialization of museums . Unlike some other void 4 fundamental laws 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 patro ns , the deracination in fundinghas alike been accompanied by a stir in the view of museums as conditioned venues to a view ofmuseums as a branch of the tympanic membrane 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 bookish use has been largely replaced by the idea of the museumas a nub of communication (Lumley 1988 :15(Mclean , 1997One way of funding is by appealing to politicians and aligning with protagonism groups . This leave bediscussed in the next sectionii . Politicians , Communication bring , and Interest Groups Tony Schirato and Susan weep (2000 , in Communication and Cultural Literacy , notethat politicians are attentive to communications channels Schirato relates the myth onBill Clinton s view on T .V . fiercenessBill Clinton and other Amer ican politicians argue that the representation of vio! lence on television`does a violence to children . This issue is taken up in an occurrence of the Simpsons , where margarine Simpson , horrified by what her kids are watching on the cartoon `Itchy and bumpy mobilisescommunity opinion to force the mesh to censor the violence . sort of 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 advocacy groups . A second point of emphasis in Schiato andYell s work is that politicians leave attention to communications channels that strike their by-linegroups (in this case , the post group is the parents of young childrenWith regard to marketing museums , this suggests that marketers shouldpresent the specific strengths of their museum (say , for simulation it has an abundanceof Spanish paint ings ) 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 frolic Industry (2000 discussed the effectthat interest groups have deep been exerting on museumsInterest groups are a vital component of our elected system . They care 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 practice in educating and informing the American publicabout significant issues , and in doing so they have served to stimulate heavypublic make do . Unfortunately , the fix of interest groups is not always positiveToday there is evidence that some of these groups cloud prevent , and distort publicdebate of significant issues , rather than encourage it . tacking on this to the fact thatpowe! rful economic forces discourage open debate in our society , and you have cause for concern6That interest groups are having negative effects on debate is evident immaterial therealm of the mass media . For example , museums are now subjected to anunprecedented amount of examination and pressure from interest groups . Many groupsnow insist on exerting their influence at the earliest stages of planning a taper , andmore and more are booming at getting their points of view integrated . Somehave even been triple-crown 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 endanger 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 monument , devoid of version so as toavoid any affirmable offense . wear industry lobbyists objected to 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 expounding . However , the presence of resistance to exhibits must notdeter the museum marketers from pushing finished 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 en! tire experience of the museum . Themuseum s core product , its exhibition , together with its information functions , its al-Qaidaand its support services , are all communicating a sum to the public . The management ofaccess to the museum also contributes to the overall moving-picture show 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 regar d 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 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 ostracize of advertisers who buy at specific moot shows and /or8of the place /media entity itself . Groups have leveled these threats throughletter-writing campaigns and press conferences and at annual conventions . Thel atest furrow has been to cross-boycott a conglomerat! e , as prove by theSouthern Baptist traffic pattern s threat to boycott Disney / ABC because of allegedlypro-gay and anti-Christian broadcast computer programming 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 any(prenominal) power they may have once had forseveral reasons . First , advantageously 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 mu seums image through the different marketing distribution materialsEffective Fundraising for the MuseumStanley Weinstein (2002 , in The stark(a) aim to Fundraising Managementpointed out the common misconception that grants are the approximately important source offunding for non-profit organizationsThe other widespread myth about grants is that they are the roughly importantpart of any not-for-profit organization s funding pattern This issimply not consecutive . 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 nonprofitorganizat! ions (and therefrom , 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 take the rationale for the appealfundraising professionals call this rationale the case for support or the casestatement . It might be more championful to think in t erms of scripts - a body of10language that tells any prospective jockstrap 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 why does this agency merit supportFrom the donor s perspective , institutions do not have needs . peopledo . Too often not-for-profit appeals are establish on statements such as Asthe winter months approach , our organization is cladding a mounting deficitWe need your support to keep an eye on 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 t hechanges in the art scene particularly in the fundin! g of museums can be understood . The shiftfrom government funding to independent funding was say 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 , Ton y 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 nose , N .S .W : Allen Unwin ,.526 . Mclean , Fiona (1997 ) Marketing the MuseumLondon : Routledge . p156 p...If you want to get a full essay, order it on our website: OrderCustomPaper.com

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