From Corporate Artification to Artification in the Third Sector, Special issue of the Journal of Philanthropy and Marketing; Abstract deadline 31 Jan 2023
INTEREST CATEGORY: SECTORS
POSTING TYPE: Calls: Journals
Author: Rita Kottasz
Call for Papers – Special Issue
Journal of Philanthropy and Marketing
From Corporate Artification to Artification in the Third Sector
Co-Editors of this Special Issue:
- Alex Turrini, Bocconi University, Italy
- Marta Massi, Athabasca University, Canada
- Chiara Piancatelli, SDA Bocconi School of Management, Italy
Abstracts due: January 31st, 2023
Manuscripts due: April 30th, 2023
Originally defined as “the transformation of non-art into art [that is] a transfiguration of people, objects and action” (Shapiro, 2004a, p. 1), artification is a process that eventually ends up in some type of philanthropic support towards the arts. Through artification, an object changes its status and goes through a transformation that results in that object being socially accepted as “art” and, therefore, legitimated. As Shapiro (2004b, pp. 2–3) puts it, there are two basic assumptions on which artification is based: 1) the belief in the superior value of art, conceived as outcome of a process rather than as an artwork per se; and 2) the multiplication of legitimizing bodies entitled to perform the role of “gatekeeper” so that organizations might easily gain legitimacy from artification (Williams & Biggemann, 2020).
Artification can take different forms. Both businesses and non-profit organizations are involved in artification processes when they create support for or hire artists (Joy et al., 2014), when they settle down corporate arts museums, e.g., Ferragamo or Gucci (Carù et al., 2017), when they display brand products as artworks (Masè & Cedrola, 2017; Masè et al., 2018), when they start corporate art collections, e.g., Deutsche Bank, (Kottasz et al., 2007, 2008) or when they promote arts-related interventions in their work environment (Berthoin Antal, 2012; Berthoin Antal et al., 2018). Indeed, organizations might develop “creative partnerships” (Lewandowska, 2015, p. 33) to embed arts into organizational life (Schiuma, 2011) and “use arts as a management innovation for the creation of an organisational context which nurtures human potential and creative thinking” (Schiuma, 2017, p. 1). Some organizations introduce “arts-based learning” and “artistic interventions” (Berthoin Antal, 2012) in the personal and professional training of employees through which artists train the staff using performing and visual arts to promote creative problem-solving (Lewandowska, 2015, p. 37). These organizations invite artists to create artworks that “engage the company’s employees intellectually, emotionally and physically” (Schiuma, 2017, p. 10). Under this perspective, artification is used to stimulate employee creativity, innovation, and risk taking (Hoeken & Ruikes, 2005; Kottasz et al., 2007), but also to reflect organizational values, commitment to society, and philanthropic support (Williams & Biggemann, 2020).
Massi and Turrini (2020) have recently categorized all these initiatives in three levels of a continuum: synergies, contaminations, and hybridizations. Organizations can develop synergies, i.e., collaborations that represent an initial point of contact between the arts world and the business world. Synergies are intended as collaborations that are built to achieve different goals and do not radically affect (or contaminate) the nature of either the company/brand or the arts institution/artist involved. Among these types of collaboration, we might include sponsorship, patronage, and corporate art collections. Through contamination effects, art’s key properties spill over onto companies’ brands, thus influencing consumer evaluation (Hagtvedt & Patrick, 2008a; 2008b; Estes et al., 2018). Contamination effects are mutual: organizations can, indeed, contaminate art, for example, when artists are invited to create works of art from products (Dion & Arnould, 2011) or when companies show a deep commitment toward the arts, like in the case of corporate (art) museums or corporate art foundations. Hybridizations are collaborations characterized by an extreme level of interaction that implies the intersection of forms and genres, generating grafts between high culture and commercial culture. Hybridization can take on different forms: the creation of art products – like when many fashion companies collaborate with artists to develop iconic capsule collections or limited editions (e.g., the “Mondrian Collection by Yves Saint Laurent); retail artification like when “a new form of spatial aesthetics” is created (e.g. in-store display of permanent or temporary artworks) (Vukadin et al., 2018, p. 279; Naletelich & Paswan, 2018); art-based brand management like the Prada Marfa installation, created by artists Michael Elmgreen and Ingar Dragset and placed in the Texas desert; art-based advertising when the reference to artworks in advertising enhance the advertised products’ perceived luxuriousness (e.g., Hetsroni & Tukachinsky, 2005; Huettl & Gierl, 2012; Peluso et al., 2017). Artification processes have emerged in different fields including fashion, leisure & tourism, entertainment, sports, and technology (Heinich & Shapiro, 2012). Artification has been studied in the context of luxury wines (Passebois Ducros et al., 2015; Joy et al., 2021), luxury fashion (Kapferer, 2014; Chailan, 2018; Massi & Turrini, 2020) and hospitality (Zelenskaya et al., 2022); however, research on the phenomenon is still in its infancy.
Artification might permeate business companies’ processes (molding their Corporate Social Responsibility strategy) but also third-sector organizations operating in fields such as education, healthcare, humanitarian relief, social care, etc. Non-profits such as foundations and associations might develop artification processes, e.g., the Fondation de France that introduced the New Patrons program in 1993 “to stimulate citizens to commission contemporary art to meet social interests” or help other organizations to develop art-based actions, e.g., TILLT, a non-profit organisation based in Sweden that aims to create “new interfaces between arts and organizations in the public and private sector by process-oriented collaboration” (Berthoin Antal, 2012, p. 48).
Surprisingly, there is a dearth of research on artification as a process that non-profit organizations undertake to improve their brand, strengthen their relations with the community, use to improve organizational wellbeing. By artifying their brand, space, and work environment, or by collaborating with arts institutions and artists, also non-profit organizations can provide their support to the arts, while reinforcing their brand legitimacy (Masè et al., 2018), strengthening their commitment to stakeholders other than beneficiaries (Dell’Era, 2010), enhancing their reputation and credibility with donors (Herranz-de-la-Casa et al., 2015).
In line with the focus of the Journal of Philanthropy and Marketing, we welcome both conceptual and empirical papers on what we call artification-based philanthropy conceived as an area of study that includes both corporate and non-profit artification endeavors. In addition to research papers, we are also seeking the submission of Practice Papers (approximately 2500-3500 words) that aim to reflect and offer managerial implications that are relevant and valuable to organizations working within the remits of philanthropy and marketing. Papers dealing with success case histories may also be considered, provided that the experience presented offers the readership something new, innovative, and creative.
In addition to the Practice Papers, the Journal of Philanthropy and Marketing is also a facilitator of Academic Practice Partnerships (APPs). Academics often struggle to obtain valid and reliable “real life” data to utilize and analyze for publication purposes, whilst philanthropic organizations cannot always make sense of the large volumes of data that they accumulate. The APP facilitates mutually beneficial partnerships where resources, knowledge and skills are shared. The exact nature of each partnership is contingent on the needs of the practice-based organization. We do not dictate terms and conditions but endeavor to offer practical guidelines for those interested and encourage all authors to submit an APP application within the remit of the above call.
Topics can include, but are not limited to, the following:
- Artification in business companies and non-profit organizations
- Effects of corporate artification on the third sector
- Corporate social responsibility (CSR) and artification
- Drivers of artification in the corporate and non-profit world
- Ethics and responsibility in artification
- Corporate arts programs: collections, sponsorships, patronage, and corporate museums
- Arts and health: levels of artification for patient recovery
- Artification, aestheticism and research: how universities “use” arts
- Types of artification-based partnerships in the non-profit sectors
- Artifying major donors: when aesthetics matter in fundraising strategies
- Artification of communication strategies in humanitarian relief
- New artification-based philanthropy quandaries emerging because of advances in digital technologies (e.g., digital marketing, AI, IoT)
Abstracts submission deadline: 31st January 2023
Abstracts and Cover letters should be submitted by email, for consideration by the Co-editors:
Alex Turrini, email@example.com
Marta Massi, firstname.lastname@example.org
Chiara Piancatelli, email@example.com
Deadline for Submission of First Manuscript: 30th April 2023
Submission materials should been prepared following the Author Guidelines, Manuscripts should be submitted online at https://submission.wiley.com/journal/nvsm
Please do not submit to the Special issue unless invited by the Co-Editors
Special Issue Authors should select ‘Special Issue Article’ and indicate the issue title when prompted For further help with submissions, please contact: JPHILMAR@wiley.com
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