On March 19, 2024, the Boekmanstichting in Amsterdam will host a special event featuring Justin O’Connor, a distinguished cultural economist and policy expert from Australia. The event, co-organized by Caradt’s Cultural and Creative Industries research group, promises to be an inspiring afternoon where O’Connor will present his latest book ‘Culture is not an industry
‘.
In this book, O’Connor advocates for a reevaluation of the intrinsic value of culture, going beyond the conventional approach of viewing culture solely as an economic industry. He considers art and culture as essential pillars of democracy, spaces where ideas can freely flourish and serve as a catalyst for radical change.
The event’s program includes the presentation of O’Connor’s book and a panel discussion on how the political landscape affects culture appreciation and policies. This event provides a unique opportunity for students, educators, professionals, and individuals interested in the cultural and creative industries to gain insights, engage in discussions, and network at the intersection of culture, politics, and society.
More information about Justin O’Connor’s book can be found on the book page of ‘Culture is not an Industry‘ on the website of Manchester University Press.
Justin O’Connor was a visiting professor at Caradt in September and October 2022. Read more.
‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’
Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.
The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?
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