In arts management, the notion of organization is largely implicit and rarely theorized. As an interdisciplinary field, arts management has, over the last five decades, borrowed from a number of disciplines including policy studies, law, economics, and sociology – though management studies remain the field’s most important intellectual influence. A cursory look at arts management textbooks and recent journal publications reveals selectivity in the way the field borrows from management studies: marketing and leadership are probably the two management studies topics most represented in arts management research, followed closely by strategic management, entrepreneurship, and finance. Within this context, students of arts management are typically introduced to cultural policy as a key component of the organizational environment; however, they are rarely exposed to organizational theory beyond this lens. Organizational theory is, in a sense, the Arl esienne of arts management. The field has been increasingly concerned with issues such as diversity in arts organizations (Cuyler 2013; Jung 2015; Mandel 2019), and in understanding how managers make sense of their organizational environment, especially when it comes to audience development (Sigurjonsson 2010; Sterner 2016; Kemp and Poole 2016). A host of arts management scholars have also engaged in case studies to analyze cultural organizations such as theaters, opera houses, museums, libraries, archives, festivals, radio-television broadcasting, and nonprofit organizations, among many others. It should be noted that this work has been prolific in its efforts to define and better understand the nature of organizations as they relate to arts management – from public (Marzano and Castellini 2018), to private (Arthurs et al. 1999), to not-for-profit (Thibodeau and R€ uling 2015), to small (Chang 2010), hybrid (Rushton 2014), and many others. However, theorizing (arts) organizations has never been an important focus in the field. Examples of work building off organizational theory in arts management are scarce – though there have been a few noteworthy examples in recent years. For instance, the organizational ethnography of the Cultural Enterprise Office, a Scottish public service organization, brought forward the importance of meaning and its construction in organizations. In this work, Schlesinger, Selfe, and Munro (2015) observed how important cultural policy items were being defined and negotiated at the organizational level, through the interactions of experts and public servants. Similarly, the work of Marisol D’Andrea (2017) on the Canada Council for the Arts is concerned with organizational processes; it unveils the dynamics of decision-making and the organizational construction of artistic legitimacy in Canadian art. In a different vain – in what can perhaps be best described as a tour de force – my colleague Eleonora Redaelli and I sought to reintegrate organizational theory

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艺术管理研究中的组织理论

在艺术管理中，组织的概念在很大程度上是隐性的，很少被理论化。作为跨学科领域，艺术管理在过去的五十年间借鉴了包括政策研究，法律，经济学和社会学在内的许多学科，尽管管理学仍然是该领域最重要的智力影响力。粗略浏览艺术管理教科书和最近的期刊出版物，揭示了该领域借鉴管理研究的方式的选择性：市场营销和领导力可能是艺术管理研究中最代表的两个管理研究主题，紧随其后的是战略管理，企业家精神和金融。在这种情况下，艺术管理专业的学生通常会被介绍到文化政策中作为组织环境的关键组成部分；然而，他们很少从这个角度接触组织理论。从某种意义上说，组织理论就是艺术管理学的领域。这个领域越来越关注艺术组织的多样性（Cuyler 2013; Jung 2015; Mandel 2019），以及了解管理者如何理解其组织环境，尤其是在受众发展方面（Sigurjonsson 2010; Sterner 2016）。 ; Kemp and Poole 2016）。许多艺术管理学者还从事案例研究，以分析文化组织，例如剧院，歌剧院，博物馆，图书馆，档案馆，音乐节，广播电视和非营利组织等。应当指出的是，这项工作在定义和更好地理解与艺术管理相关的组织的性质方面从多方面努力（从公共（Marzano和Castellini，2018）到私人（Arthurs等，1999），到营利性（Thibodeau and R€uling 2015），小型（Chang 2010），混合型（Rushton 2014）等。但是，理论化（艺术）组织从未成为该领域的重要重点。尽管近年来有一些值得注意的例子，但在艺术管理中建立组织理论的工作实例很少。例如，苏格兰公共服务组织“文化企业办公室”的组织民族志提出了意义及其在组织中的重要性。Schlesinger，Selfe在这项工作中 和Munro（2015）观察了如何通过专家和公务员的互动在组织层面上定义和谈判重要的文化政策项目。同样，Marisol D'Andrea（2017）在加拿大艺术理事会上的工作也与组织程序有关。它揭示了加拿大艺术中决策的动态以及艺术合法性的组织结构。我的同事Eleonora Redaelli和我试图重新整合组织理论，但徒劳无功-也许可以形容为“巡回演出”。Marisol D'Andrea（2017）在加拿大艺术理事会上的工作与组织过程有关; 它揭示了加拿大艺术中决策的动态以及艺术合法性的组织结构。我的同事Eleonora Redaelli和我试图重新整合组织理论，但徒劳无功-也许可以形容为“巡回演出”。Marisol D'Andrea（2017）在加拿大艺术理事会上的工作与组织过程有关; 它揭示了加拿大艺术中决策的动态以及艺术合法性的组织结构。我的同事Eleonora Redaelli和我试图重新整合组织理论，但徒劳无功-也许可以形容为“巡回演出”。