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Is the Cirque du Soleil® business model a solution to find a balance between Profitability and Innovation in the performing art, and more especially in the Circus? / Jade SAGE / 2020
Titre : Is the Cirque du Soleil® business model a solution to find a balance between Profitability and Innovation in the performing art, and more especially in the Circus? Type de document : Mémoire Auteurs : Jade SAGE, Auteur Année de publication : 2020 Importance : 29 p. Note générale : Pour accéder aux fichiers PDF, merci de vous identifier sur le catalogue avec votre compte Office 365 via le bouton CONNEXION en haut de page. Langues : Anglais (eng) Mots-clés : Management
SPECTACLE ; INNOVATION ; ART ; DISTRIBUTION ; PERFORMANCERésumé : The performing art is one of the most evolutive sector of the current economic context, but also one of the most unsteady regarding its growth period, mutations, and creativity process.
Theaters, operas, dancing, music shows, circus, etc… The Performing art is like a whole economy inside another, which means that its balance depends on of a lot of criteria, subcategories, but also internals and externals factors.
Indeed, the question of success is quite nuanced in this sector, and not measurable as it can be in other fields like finance, marketing, audit, etc… The human being and the concept of creation are at the heart of the process, these criteria are hard to estimate, and it is difficult to make it profitable. It is the reason why we are currently dealing with a crisis inside this whole industry, and here remains the main challenge of the sector. The durability.
Some field appears more evolutive than other, like the circus for instance, experiencing a millennium of mutations but which is still present today. It is interesting to study resilience belonging to this sector, showing how the creation sector must still fight more than other fields to prove its profitability and justify its present on the market.
Belonging to a creative industry does not means to be profitable but means to find the perfect balance between profitability and innovation, and this is what we will deal with, focusing on fields and compagnies that succeeded in this balance.
The question is now to see if solutions that appear in some models can be transportable or not, and from a sustainable point of view.Programme : PGE-Rouen Spécialisation : Cultural and Creative Industries Permalink : https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=531709 Luxury goods and the emergence of a new contemporary art movement: a social and business study through the cases of Christie’s and Sotheby’s / Juliette THEVIGNOT / 2020
Titre : Luxury goods and the emergence of a new contemporary art movement: a social and business study through the cases of Christie’s and Sotheby’s Type de document : Mémoire Auteurs : Juliette THEVIGNOT, Auteur Année de publication : 2020 Importance : 38 p. Note générale : Pour accéder aux fichiers PDF, merci de vous identifier sur le catalogue avec votre compte Office 365 via le bouton CONNEXION en haut de page. Langues : Anglais (eng) Mots-clés : Management
ARTS PLASTIQUES ; PRODUIT DE LUXE ; ENCHERERésumé : Luxury goods recently flooded the art market, from artworks shaped as bags or cars, to real luxuries sold through auction houses and galleries. This paper investigates the impact of selling such goods on the art market, analysing the way it changes our perception of contemporary art today, taking the specific cases of Christie’s and Sotheby’s. Our hypothesis is that luxury goods can be perceived as artworks today. To analyse this case, we develop a quantitative survey focusing on the perception a luxury good can provide and the similitudes between artists and craftsmen. Contrary to our previous hypothesis, our analyse identifies that luxury goods sold at Christie’s and Sotheby’s do not change our perception of the current contemporary art movement, but rather are blurring the frontiers between art and luxury and are encouraging the birth of a new art movement. However, it also highlights the evolving role of the artist, who is becoming both a intellectual as well as a real craftsman. Programme : PGE-Rouen Spécialisation : Cultural and Creative Industries Permalink : https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=531693
Titre : THE IMPACT OF COMMERCIALIZATION ON THE PERCEPTION OF STREET ART Type de document : Mémoire Auteurs : Elise RIEFFEL, Auteur Année de publication : 2020 Importance : 22 p. Note générale : Pour accéder aux fichiers PDF, merci de vous identifier sur le catalogue avec votre compte Office 365 via le bouton CONNEXION en haut de page. Langues : Anglais (eng) Mots-clés : Management
ART ; CONFLIT SOCIAL ; URBANISME ; COLLABORATION INTER ENTREPRISESRésumé : Street art, which started as an underground, transgressive art form, has been gaining more
and more atenton in the past fears. Afer fears of being considered as illegitmate and unworthf
of entering the art world, its aesthetc and artstc value is now widelf recognized, turning it into a
mainstream art movement. Street art is garnering interest all across the world and impactng not
onlf the art world, but also other felds such as advertsing, tourism or real estate. Although it
atempts to retains its subversiveness and independence while also woreing hand in hand with
local governments and corporatons, just how successfullf it accomplishes that goal is subject to
debate. While some collaboratons are met with acclaim, others are accused of denaturing the
movement entrelf. Mf research aimed to gain insight into the public’s percepton of street art, as
a counter-cultural movement or merelf a commercial art form, as well as determine how
collaboratons between artst and brands afect their images, with a focus on importance the ft
between the two. Through a survef, I was able to infer that the public tends to perceive street art
as compatble with the commercial world, and to confrm that a poor ft between artst and brand,
in the context of a collaboraton, lead to the deterioraton of both of their images to the public.
4Programme : PGE-Rouen Spécialisation : Cultural and Creative Industries Permalink : https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=531707
Titre : THE STRATEGY OF COLLABORATION IN THE FASHION INDUSTRY : How and why collaborations can be used and impact both parties. Type de document : Mémoire Auteurs : Marine POUDAT, Auteur Année de publication : 2020 Importance : 32 p. Note générale : Pour accéder aux fichiers PDF, merci de vous identifier sur le catalogue avec votre compte Office 365 via le bouton CONNEXION en haut de page. Langues : Anglais (eng) Mots-clés : Management
COLLABORATION INTER ENTREPRISES ; MODE ; ART ; IMAGE DE MARQUERésumé : In a context of explosion of offers in the fashion sphere, where you can find many creations of fashion brands, the consumer is hardly choosing between all the possibilities. As well, the rhythm of collection is getting harder and harder to follow (with weekly collections in many fast-fashion companies), the fashion brands are trying to create a link with the consumer by inviting other brands and artists to collaborate around few products. This kind of co-branding strategy, commonly used in other sectors such as food and automobile, is spreading all over the fashion industry, from the luxury brands to small brands. It seems that now, a fashion brand can’t even create three collections without succumbing to the temptation of inviting or getting invited by another one.
On the other hand artists are sometimes becoming brands because of the new mode of operation in the music industry : to bring people to their concerts and make them stream their music on platforms, artists are communicating as brands and being surrounded by communities. This new behaviour makes them the perfect ally to create collections for fashion brands.
This seminar paper is designed to examine the strategy of collaboration in the fashion industry. We will understand, by making a chronology of the use of this strategy in the fashion sphere, how and why it is used by the fashion brands, and especially how it has become one of the main tools used by troubled brands, by wealthy brands, by new-in brands, by established brands. This seminar paper focuses on the repercussion of this kind of strategy over the fashion brand and over the artist : how is it economically interesting and how it influences the perception of the communities from both parties.
In order to understand the conception and the repercussion of the artistic collaborations in the fashion industry, we will call on various academic sources such as articles, papers and dedicated websites. The sources used to write this seminar paper will include fashion oriented articles from Le Monde, L’Express, Les Echos, Le Figaro but also articles from fashion industry key media references : ELLE, Vogue or Fashion United. We will also introduce the results of a survey about two specific collaborations as a tool to show the impact of those collections on consumer behaviour. Doing so this seminar paper will attempt to be a mixture between marketing, journalism and social studies, combined with a quantitative analysis.Programme : PGE-Rouen Spécialisation : Cultural and Creative Industries Permalink : https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=531066 To what extent do French pop and folk music artists adjust their creation process and strategies to the market expectations in order to make a living out of their art / Pierre DESBOIS / 2020
Titre : To what extent do French pop and folk music artists adjust their creation process and strategies to the market expectations in order to make a living out of their art Type de document : Mémoire Auteurs : Pierre DESBOIS, Auteur Année de publication : 2020 Importance : 32 p. Note générale : Pour accéder aux fichiers PDF, merci de vous identifier sur le catalogue avec votre compte Office 365 via le bouton CONNEXION en haut de page. Langues : Anglais (eng) Mots-clés : Management
ART ; FRANCE ; MARKETING STRATEGIQUE ; MUSIQUE ; REMUNERATION ; STRATEGIE ; INDUSTRIE CULTURELLE SECTEURRésumé : This academic article is meant to give a nuanced reflection about the pop and folk music industry in France, placing the artist’s choices, strategies and scope of action at the center of the analysis. To do so, it is important to understand the forces at work in the « commercial pole » of the music industry. These forces are likely to have an influence on musicians’ creation processes, with or without them to be conscient about them. It is also crucial to understand what strategies can be developed by the artists in a hostile environment such as the music sector in which they progress. An empirical research is required in order to enable musicians to express themselves about their vision of the industry, how they are willing to build they careers, their yearnings, their conception of success, authenticity and the compromises they agree to make in order to maintain their carrer from an economic point of view. Finally, this article is just as much meant, in the end, to deconstruct prejudices about the figure of the musician in our society and soothe the passions that hit a fantasised industry. Programme : PGE-Rouen Spécialisation : Cultural and Creative Industries Permalink : https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=531085 PermalinkCabinets de curiosités / Landerneau : Fonds Hélène et Edouard Leclerc pour la culture (2019)
PermalinkPermalinkPourquoi la croissance du marché de l’art ne profite-t-elle pas aux petites et moyennes galeries, et quelles stratégies peuvent-elles mettre en place ? / Paola BOSSI / 2019
PermalinkPermalinkPermalinkBusiness models and strategies of visual artists' studios : between legacy models and evolution / Valentin CREPAIN / 2018
PermalinkHenry Moore / Landerneau : Fonds Hélène & Édouard Leclerc pour la culture (2018)
PermalinkSponsored art foundations: impact of the attendance of the art foundation towards the set of behavioral and attitudinal constructs towards the sponsoring brand / Ekaterina NECHAEVA / 2018
PermalinkPicasso / Landerneau : Fonds Hélène & Édouard Leclerc pour la culture (2017)
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