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Abstract

This article presents a brief account of the new conditions where the production, circulation, and consumption of cultural goods take place. New opportunities for creators, intermediaries, and the public emerged, as significant changes in the ways of producing culture have been brought about by several factors. These include the development of digital technologies and the internet; the new international division of labor in the realm of cultural industries of a globalized economy; the proliferation of networking and “inter-networking” of both the authors and the public.

At the same time, these interdependent developments outline a context quite different from the one experienced and analyzed by Adorno in his critique of culture industry. This article focuses on these changes as it aims to raise several questions regarding Adorno’s critique in an attempt to explore and highlight what remains crucial and important from his point of view. In addition, it clarifies some of the widespread misrepresentations of his views that make his approach too superficial.

Last Updated: 14 May 2023

Abstract

The paper presents some results of an original survey in a sample of 591 visual artists in Greece, focusing on their living and working conditions. This sample represents 10% of the total members of the Chamber of Fine Arts of Greece (margin of error ±3.82%, 95% confidence interval). The questionnaire includes over 250 variables embracing a wide range of issues, including standard indicators of material deprivation, as well as questions comparing the situation before and after the introduction of the austerity programmes. The research was carried out in collaboration with the Thessaloniki Center of Contemporary Art of the State Museum of Contemporary Art and supported by the Chamber of Fine Arts of Greece. Technical support was provided by the Aristotle University of Thessaloniki. This survey is the first of its kind carried out in the country. The survey is part of a wider attempt to study cultural work in Greece and it is based on previous exploratory study with focus groups about the working conditions of visual artists and film makers (see Baltzis & Pantazis, 2016).

The paper outlines the occupational profile of the visual artists in Greece which does not differ significantly from that described in the case of other countries, studied for example by Ball, Pollard, & Stanley, Benhamou, Heinich, Hesmondhalgh, Menger, and others. It focuses, however, on the contrast before and after 2012, the year when the effects of the austerity policies became evident in Greece. The respondents compared the situation before and after 2012 considering 16 indicators of a wide variety of aspects related with the working conditions of the visual artists. Only 2%-10% of the respondents answered that the conditions have improved, depending on the indicator. The analysis showed significant difference between the two periods and only 7.4% of the respondents expressed high and very high degree of optimism about the future of the visual arts in Greece. The differentiation of the answers to the 16 indicators were analyzed considering the high rates of material deprivation found among participants, the income levels and the variables detecting whether they work in a second occupation.

The findings outline some of the negative effects of the austerity policies not only on how the visual artists experience the current conditions, but also on the future of the cultural work in Greece. And the latter is not perceived to be very bright.

Last Updated: 28 August 2017

Abstract

The paper presents some results of an original survey in a sample of 591 visual artists in Greece, focusing on their living and working conditions. This sample represents 10% of the total members of the Chamber of Fine Arts of Greece (margin of error ±3.82%, 95% confidence interval). The questionnaire includes over 250 variables embracing a wide range of issues, including standard indicators of material deprivation, as well as questions comparing the situation before and after the introduction of the austerity programmes. The research was carried out in collaboration with the Thessaloniki Center of Contemporary Art of the State Museum of Contemporary Art and supported by the Chamber of Fine Arts of Greece. Technical support was provided by the Aristotle University of Thessaloniki. This survey is the first of its kind carried out in the country. The survey is part of a wider attempt to study cultural work in Greece and it is based on previous exploratory study with focus groups about the working conditions of visual artists and film makers (see Baltzis & Pantazis, 2016).

To comply with the peculiarities of the visual artists, an overall index of economic strain was calculated enhancing the standard material deprivation inventory of indicators with the enforced inability to afford an atelier (Cronbach’s Alpha = .893). Analysis of variance showed that respondents answer consistently about their income, their living conditions, and the changes in their working conditions. This consistency allowed the use of the variables as reliable indicators of the consequences of the austerity policies for the visual artists. The overall index of economic strain was used to analyze variables comparing the living and working conditions of visual artists before and after the introduction of the austerity policies. The findings show that visual artists in Greece face severe material deprivation to a greater extend (68.8%) compared to the general population (22.2%). Therefore, extended deprivation of the material conditions required to work as a visual artist, was found in Greece.

Based on the standard European Socio-Economic Classification (ESeC 5), modified by researchers at the National Centre for Social Research to comply with the Greek society, the social origin of the visual artists was examined. The findings suggest that the intergenerational mobility, which represents a tendency of democratization in the field of the arts, does not make it easier to cope with extended economic strain and material deprivation. They also show that social inequality is intensified among visual artists, as those who face economic strain and material deprivation to a greater extent, originate from lower socio-economic strata.

Finally, the findings suggest that further research on the working and living conditions is required in other artistic sectors as well, while the issues raised, require consideration by cultural and economic policy decision makers.

Last Updated: 31 August 2017

Abstract

The paper presents findings of a survey on 1,408 students at the Aristotle University of Thessaloniki (Greece), aiming to highlight some of the limitations of the cultural marketing and contribute to the discussion about the audience research for purposes of fragmentation. Usually, audience research is based on the assumption that demographic features influence significantly the behavior of cultural consumers, without considering any mediator variables like for example personality traits or motives. In the fields of cultural marketing it is – of course – recognized that audience decisions are influenced by or even depend on psychological factors. However, although considered for audience fragmentation, researchers usually overlook the possibility psychological factors to mediate the influence of demographic variables.

Responding to this void, the research presented in this paper focuses on motives as a mediator for the influence of demographic factors on the frequency of participation in cultural activities. The findings indicate that it may be necessary to review some of the standard assumptions underlying typically the surveys conducted by cultural managers and marketers, and also by cultural policy decision makers.

Based on previous studies by the authors, it was assumed that since motives affect cultural behavior and are affected by demographic features, it is likely that they are mediator variables. To test this hypothesis a path analysis was conducted after it was confirmed that the motives of cultural consumption can be classified into three basic types: cognitive, social, and emotional.

When motives were included in the structural equation model, a statistically significant decrease of the Beta coefficients was found. A statistically significant difference was also found between the regression coefficients with and without the motives. The comparative fit index (CFI) and the RMSEA were in all cases well above and below the acceptable levels respectively, and the comparison showed that the mediation is partial. In addition, it was found that the cognitive motives of cultural consumption are more important than the social ones, while the social motives are more important than emotional.

The contribution of this research is that it suggests a different perspective on audience segmentation and a better understanding of cultural behavior. Taking into account the increasing financial constraints of the cultural organizations, the number of competitive leisure activities, as well as the changes in lifestyle, a better understanding of the needs of the audiences can contribute to reduce some of the difficulties that cultural organizations face.

Perhaps overlooking the mediation of psychological variables does not have a dramatic impact on the reliability and validity of audience fragmentation or on predicting cultural behavior. This remains to be seen in future research. Similar surveys, however, need to be carried out on the general population and with more demographic variables, to determine the extent to which the hypothesis of psychological factors as mediator variables is confirmed.

Last Updated: 07 March 2017