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  Subjects -> ART (Total: 581 journals)
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ART (268 journals)                  1 2 3 | Last

1895. Mille huit cent quatre-vingt-quinze     Open Access   (Followers: 5)
African Arts     Hybrid Journal   (Followers: 14)
Afterall : A Journal of Art, Context, and Enquiry     Full-text available via subscription   (Followers: 11)
Aisthesis     Open Access  
American Art     Full-text available via subscription   (Followers: 16)
American Music     Full-text available via subscription   (Followers: 11)
American Society for Aesthetics Graduate E-journal     Open Access   (Followers: 3)
An Sionnach: A Journal of Literature, Culture, and the Arts     Full-text available via subscription   (Followers: 2)
Anales de Historia del Arte     Open Access  
Anales del Instituto de Investigaciones Esteticas     Open Access  
Animation Practice, Process & Production     Hybrid Journal   (Followers: 7)
Animation Studies     Open Access   (Followers: 6)
Annales UMCS, Artes     Open Access  
Appalachian Heritage     Full-text available via subscription   (Followers: 4)
ArcheoArte. Rivista Elettronica di Archeologia e Arte     Open Access   (Followers: 3)
Archives of Asian Art     Full-text available via subscription   (Followers: 7)
ARS     Open Access   (Followers: 1)
Ars Lyrica     Full-text available via subscription   (Followers: 2)
Art & the Public Sphere     Hybrid Journal   (Followers: 10)
Art + Law     Full-text available via subscription   (Followers: 7)
Art and Design Review     Open Access   (Followers: 3)
Art Design & Communication in Higher Education     Hybrid Journal   (Followers: 22)
Art Documentation : Journal of the Art Libraries Society of North America     Full-text available via subscription   (Followers: 6)
Art History     Hybrid Journal   (Followers: 275)
Art In Translation     Full-text available via subscription   (Followers: 8)
Art Journal     Hybrid Journal   (Followers: 10)
Art Monthly Australia     Full-text available via subscription   (Followers: 7)
Art Therapy: Journal of the American Art Therapy Association     Full-text available via subscription   (Followers: 10)
ART-SANAT     Open Access   (Followers: 2)
artciencia.com : Revista de Arte, Ciência e Comunicação     Open Access   (Followers: 4)
Arte y Ciudad     Open Access  
Arte, Individuo y Sociedad     Open Access   (Followers: 1)
Artelogie     Open Access   (Followers: 1)
Arteterapia. Papeles de arteterapia y educación artística para la inclusión social     Open Access   (Followers: 3)
Artl@s Bulletin     Open Access   (Followers: 1)
Artlink     Full-text available via subscription   (Followers: 4)
ARTMargins     Hybrid Journal   (Followers: 3)
Arts     Open Access   (Followers: 4)
Arts & Health: An International Journal for Research, Policy and Practice     Hybrid Journal   (Followers: 6)
Arts and Design Studies     Open Access   (Followers: 21)
Arts and Humanities in Higher Education     Hybrid Journal   (Followers: 30)
Arts Marketing : An International Journal     Hybrid Journal   (Followers: 11)
Asia Pacific Journal of Arts and Cultural Management     Open Access   (Followers: 8)
Asian Music     Full-text available via subscription   (Followers: 7)
Asian Theatre Journal     Full-text available via subscription   (Followers: 1)
Australasian Leisure Management     Full-text available via subscription   (Followers: 1)
Australasian Parks and Leisure     Full-text available via subscription   (Followers: 1)
Australian and New Zealand Journal of Art     Hybrid Journal   (Followers: 8)
Australian Art Education     Full-text available via subscription   (Followers: 6)
Australian Humanist, The     Full-text available via subscription   (Followers: 2)
Avant Garde Critical Studies     Full-text available via subscription   (Followers: 3)
Balkanologie : Revue d'Études Pluridisciplinaires     Open Access   (Followers: 2)
Biography     Full-text available via subscription   (Followers: 14)
Black Camera     Full-text available via subscription   (Followers: 5)
Boletín del Museo Chileno de Arte Precolombino     Open Access   (Followers: 1)
Book History     Full-text available via subscription   (Followers: 283)
BR::AC - Barcelona, Research, Art, Creation     Open Access   (Followers: 4)
British Journal of Aesthetics     Hybrid Journal   (Followers: 18)
Buildings & Landscapes: Journal of the Vernacular Architecture Forum     Full-text available via subscription   (Followers: 9)
Bulletin of the American Schools of Oriental Research     Full-text available via subscription   (Followers: 9)
Bulletin of the Comediantes     Full-text available via subscription   (Followers: 2)
Byzantinische Zeitschrift     Full-text available via subscription   (Followers: 8)
Cahiers de civilisation espagnole contemporaine     Open Access   (Followers: 2)
Cahiers de Narratologie - Articles     Open Access   (Followers: 1)
Cahiers de recherches médiévales et humanistes     Open Access   (Followers: 6)
Cahiers des Amériques latines     Open Access   (Followers: 2)
Cahiers d’études italiennes     Open Access   (Followers: 2)
Callaloo     Full-text available via subscription   (Followers: 9)
CALLE14 : revista de investigación en el campo del arte     Open Access   (Followers: 2)
Cambridge Opera Journal     Hybrid Journal   (Followers: 6)
Canadian Journal of Popular Culture     Hybrid Journal   (Followers: 5)
Canadian Theatre Review     Full-text available via subscription   (Followers: 2)
Carte Italiane     Open Access   (Followers: 3)
CeROArt     Open Access   (Followers: 1)
Choreographic Practices     Hybrid Journal   (Followers: 1)
Cinema Journal     Full-text available via subscription   (Followers: 17)
Cogent Arts & Humanities     Open Access  
Comicalités     Open Access   (Followers: 1)
Comics Grid : Journal of Comics Scholarship     Open Access   (Followers: 5)
Comparative Drama     Full-text available via subscription   (Followers: 4)
Contemporaneity : Historical Presence in Visual Culture     Open Access   (Followers: 2)
craft + design enquiry     Open Access   (Followers: 5)
Critical Arts : South-North Cultural and Media Studies     Hybrid Journal   (Followers: 10)
Critique d’art     Open Access   (Followers: 4)
Cuadernos de historia de España     Open Access   (Followers: 2)
Cuadernos de Música, Artes Visuales y Artes Escénicas     Open Access   (Followers: 1)
De Arte     Full-text available via subscription   (Followers: 4)
Design Management Journal     Hybrid Journal   (Followers: 14)
Design Management Review     Hybrid Journal   (Followers: 12)
Design Philosophy Papers     Full-text available via subscription   (Followers: 4)
Eighteenth-Century Fiction     Full-text available via subscription   (Followers: 14)
Éire-Ireland     Full-text available via subscription   (Followers: 9)
El Artista     Open Access   (Followers: 2)
Empirical Studies of the Arts     Full-text available via subscription   (Followers: 2)
Escritura e Imagen     Open Access   (Followers: 1)
Études de lettres     Open Access   (Followers: 2)
Eureka Street     Full-text available via subscription   (Followers: 6)
European Comic Art     Full-text available via subscription   (Followers: 4)
European Medieval Drama     Full-text available via subscription   (Followers: 3)
Exchange     Hybrid Journal   (Followers: 4)

        1 2 3 | Last

Journal Cover   Design Management Review
  [14 followers]  Follow
    
   Hybrid Journal Hybrid journal (It can contain Open Access articles)
   ISSN (Print) 1557-0614 - ISSN (Online) 1948-7169
   Published by John Wiley and Sons Homepage  [1607 journals]
  • President's Letter
    • Authors: CAROLE BILSON
      Pages: 4 - 5
      PubDate: 2015-04-27T04:57:41.312711-05:
      DOI: 10.1111/drev.10294
       
  • A Man Ahead of His Time: Bill Hannon and the Founding of DMI
    • Authors: John Tobin
      Pages: 6 - 8
      PubDate: 2015-04-27T04:57:41.153592-05:
      DOI: 10.1111/drev.10295
       
  • Heralding the Value of Design in Business
    • Authors: Thomas Walton
      Pages: 9 - 10
      PubDate: 2015-04-27T04:57:42.104566-05:
      DOI: 10.1111/drev.10296
       
  • Design Education in the Post‐Digital Age By John Maeda
    • Authors: Bruce Nussbaum
      Pages: 11 - 17
      Abstract: Recently, the Museum of Art and Design (MAD) in New York City put on an exhibition called Materializing the Postdigital. It showcased the original and beautiful clothes and sculptures that can now be designed and created using 3D printing and other digital making technologies. The most powerful message of the exhibition was the title itself because it highlighted, for the first time, the fact that we have finally incorporated a new generation of making technologies and can finally get back to the heart and soul of design—the making itself. Which is why John Maeda's “Design Education in the Post‐Digital Age” is so important. For 20 years, a generation really, designers, entrepreneurs, business managers and professors have been busy struggling with the new technologies of making. It has been a tense and difficult time, particularly in education, where change comes slowly. Maeda aptly highlights these struggles in academia and how the rise of new digital design technologies has led to conflict between older and younger designers and between older professors and younger students. He also states boldly what so many have said quietly, which is that the obsession with digital technology has often led to a segregation of creativity from technology. Or, for those who reject digital technology entirely, it has led to a stifling of creativity. Maeda's message is singularly clear. Let's get on with integrating technology into our process so we can return to our true goals as artists and innovators creating the new and building a better future for people. The growing integration of design with high‐tech startups shows us what can be accomplished.
      PubDate: 2015-04-27T04:57:41.745206-05:
      DOI: 10.1111/drev.10297
       
  • Experiential Marketing: A New Framework for Design and Communications By
           Bernd Schmitt
    • Authors: Darrel Rhea
      Pages: 19 - 26
      Abstract: A tectonic shift in design practice was underway in 1999. Both traditional features and benefits marketing and brand communications were giving way to customer experience design. Our community saw that this was a more powerful platform for integrating design and communications activities, and a whole new set of approaches, methods, and tools were beginning to be developed. While several authors, such as Pine and Gilmore, had successfully advocated for this new perspective, Bernd Schmitt from Columbia Business School was creating a systematized, practical framework for managing experience design. The core ideas presented are still relevant today. In fact, designers are still having to make the same arguments to business 15 years later. Schmitt's article (in addition to his many other books and articles) reveals emerging distinctions that many of us in the design industry have built upon in our writings. While the concept of experience design has matured to include more robust models and more comprehensive frameworks for guiding design development, practitioners will find this piece both useful for what they do today and a good reminder of how we got here.
      PubDate: 2015-04-27T04:57:42.493885-05:
      DOI: 10.1111/drev.10298
       
  • Perspectives on Designing Design Managers By Lee D. Green, Jeff Smith,
           Gary Bryant, Rachel Cooper, Kyung‐Won Chung, and Maryann Finiw
    • Authors: Bruce Nussbaum
      Pages: 27 - 32
      Abstract: The strongest and strangest rift in academia is perhaps between business and design. For two fields that are so interdependent on one another, the separation is appalling—and completely unnecessary. In the world of fashion, for example, designers know they must be creators (each season, twice a year, year after year), as well as manufacturers, originators and retailers, loners and team players, empathizers and pathbreakers. By the time they are seniors, fashion students know where to outsource, who to go to for publicity and marketing, what margins are needed to stay in business. Nearly all have been required to intern in successful fashion businesses and have learned the realities of the fashion world from the ground up. In the best fashion schools, from Parsons in New York to Central Saint Martins in London, this is what professors teach and what the curriculum is composed of. Yet in this article, we clearly see that other design schools are not doing this job. Designers graduate without the abilities to function in a business environment, much less build a new business. This is a tragedy with a cause—bad design education. What is needed to be great corporate designers and design managers? The deepest need is understanding—not of the customer, but of business itself. Learning the language and values of business and integrating them into the designer's practice and presentation is the key to success. What is valuable? How is it measured? How can you deliver it? These are all key questions. Designers need to know not only their own process but also the process of bringing their creations to the marketplace. This is what unites such an unlikely pair of designers as Alexander McQueen and Jonathan Ive. One made incredible clothes; the other makes incredible consumer electronics. Yet both obsessed over materials, manufacturing, marketing, and price. This is what designers have to learn to either be part of a team or lead one. It isn't magic.
      PubDate: 2015-04-27T04:57:40.906001-05:
      DOI: 10.1111/drev.10299
       
  • Designing for the Base of the Pyramid By Patrick Whitney and Anjeli Kelkar
    • Authors: Bruce Nussbaum
      Pages: 33 - 41
      Abstract: Designing for complex systems is at the pioneering edge of the design field. Designing for the complex systems of the slums of India or Africa takes us even further. This piece by Patrick Whitney, dean of the Institute of Design (ID) at the Illinois Institute of Technology, and Anjali Kelkar, who was at that time a research associate at ID and now works for Steelcase, highlights how far we have come in creating methodologies of understanding for the field of design itself. One of the most important issues of design is social complexity. Products and services exist within deep cultural and social norms and networks. Designing without taking this context into account usually dooms the designer and the design. For over a decade now, Whitney has been leading an effort to create a systematic methodology of discovery and measurement of need and fulfillment, especially at The Base of the Pyramid. The framework is able to sift through the myriad of forces helping people poor to focus on one or two factors that can be improved and through their improvement, leverage the betterment of peoples' lives. In this article, we get a look at ID's research in India. It shows that lack of access to clean water and financial credit are two of the most important factors in keeping people poor. ID goes further and designs a new clean water delivery business model. It could service a critical need, as well as employ local people. ID has also designed a business model to provide credit to poor people at the bottom of the pyramid. Of course, this approach to design should be applied to the entire pyramid—bottom, middle, and top. The power of design needs to be applied throughout society in all societies.
      PubDate: 2015-04-27T04:57:42.224274-05:
      DOI: 10.1111/drev.10300
       
  • The Design Challenge By Tom Peters
    • Authors: Ellen J. Solomon
      Pages: 43 - 48
      Abstract: Though it has been more than 25 years since Tom Peters wrote about “the notion that design should be considered a valuable corporate asset,” that imperative is even more compelling today. Given both globalization and the rapid advance of technology, a major way that businesses can gain a competitive advantage is through disruptive innovation. To achieve such disruptive innovation, organizations need inspiring leaders who embrace transformational change; who hire and reward creative thinkers and risk‐takers; who create and cultivate a compelling vision that obsesses on customer‐satisfaction; who nurture a culture in which they create, reinforce, and model values in an environment that enables creativity, experimentation, prototyping, and collaboration. What Peters pointed out then is still true today: Design managers and leaders must make the business case for the strategic value of design upfront and throughout the organization so that the kind of thinking that is based on observation and other data‐gathering methods, ideation, and implementation keeps the customers front and center and contributes to the business strategy. For when both business and design leaders understand and share the mindset that design drives business value, then we can move forward with effective human‐centered solutions to complex customer, organizational, and societal issues. When Tom Peters makes the case for design as a business resource, he delivers his message with wit, clarity, and a wealth of down‐to‐earth examples. In the arena of products, he hails perception as “all there is,” and notes how design shapes perception. With respect to being close to customers—be they employees, suppliers, or consumers—design is cited as a bridge to these constituencies. And in the realm of organizational management, design is celebrated as responsive leadership, as loving change, and as being passionate about quality and detail.
      PubDate: 2015-04-27T04:57:41.42081-05:0
      DOI: 10.1111/drev.10301
       
  • Brand Design Imperatives for Emerging Global Markets By Jerome C. Kathman
    • Authors: Jerome C. Kathman
      Pages: 49 - 56
      Abstract: Fifteen years ago, I wrote an article concerning the emerging global marketplace for fast‐moving consumer goods. I shared some lessons from our practice as we helped consumer‐goods multinationals navigate what was a time of rapid and accelerating change. Reading this article a decade and a half later, I am pleased that the counsel provided then remains valuable today. At the time, the command economies of Eastern Europe were collapsing and the emerging markets in South Asia and South America were rising. The global marketplace for consumer brands was exploding. Now, in 2015, packaged‐goods brands and retailers continue their march towards globalization. Hyper markets today are found in every corner of the world. The emerging middle class in China, Russia, Brazil, and many other countries is larger and more sophisticated than I would have imagined possible back then. The consumer's voice is more powerful than ever in the age of social media. The role of e‐commerce is today at a scale unimagined at the time this paper was published. The amount of information available today about the world's consumer is overwhelming. Loyalty cards and other big data tools allow consumer‐goods companies to understand purchasing patterns and consumer habits as never before. The new, more discerning middle‐class consumer will continue to drive change and innovation in the marketplace. For companies, making good choices and making them quickly will determine the winners and losers in the marketplace for brands.
      PubDate: 2015-04-27T04:57:43.286105-05:
      DOI: 10.1111/drev.10302
       
  • Design in Business Education: A Square Peg in a Round World? By Thomas
           Lockwood
    • Authors: Natalie Nixon
      Pages: 57 - 62
      Abstract: I was pleased to re‐read Tom's 2002 article for two reasons: First, because I am impressed by how spot‐on his assessment was at the time; and second, because it is no longer (completely) true. What a relief! In today's United States, programs such as the Strategic Design MBA at Philadelphia University, as well as the design MBA degrees at the California College of Art in San Francisco, the Institute of Design in Chicago, and MICA/Johns Hopkins in Baltimore are resounding proof of integrative approaches in an MBA context. Design thinking and systems thinking are interwoven into the ways these programs teach leadership, operations, marketing, and finance. Additionally, business schools such as Rotman at the University of Toronto and Darden at the University of Virginia have robust business design studios and design thinking modules. Other traditional MBA programs are at least now offering one course in design thinking, if not integrating it throughout their program; and their students, if not the faculty at large, have formed “innovation clubs”—code for “This is a safe space for creativity and design thinking.” It is no longer the rule that graduate business education draws a deep demarcation between creativity and strategy. That is a false dichotomy and, as Tom wrote, there is a “rising importance of corporate creativity.” Of course, relative to the UK, Europe, and Asia, the democratization of design in business‐school curricula is still novel. But the “gridlock of curriculum tradition” and accreditation metrics that impeded innovation in graduate business education are melting away and becoming more fluid. This is mainly because the gaps that Tom so rightly identified between design practitioners and business managers, and between industry's embrace of design thinking and academia's reluctant gaze, has been bridged by academic upstarts who are responding to the market's demand to “give us more than a SWOT analysis!” Tom concluded that it could take 10 years before business educators embraced the value of design. He was pretty close. Although it is still true that academia lags behind the current of industry, it is encouraging that there are an increasing number of tributaries in business education forging ahead.
      PubDate: 2015-04-27T04:57:43.525967-05:
      DOI: 10.1111/drev.10303
       
  • The Miracle of Han River: Korean Government Policy and Design Management
           in the Motor Industry By Kyung‐Won Chung
    • Authors: Sue Bencuya
      Pages: 63 - 73
      Abstract: If you are currently studying design or business, you surely should be learning about all the places in which they intersect. And there are a lot of people who might say that the physical intersection of design and business is currently located in Seoul, South Korea. Just read Euny Hong's bookThe Birth of Korean Cool, and you'll see what I mean. As chair of industrial design at KAIST (Korea Advanced Institute of Science and Technology), Kyung‐Won Chung has been a friend of DMI since its earliest days—1981, in fact, when he met Peter Lawrence, DMI's first director, at a design forum—and he has served on DMI's advisory board for 11 years. Not only is he the Seoul Metropolitan Government's chief design officer, but he is also its deputy mayor. In 2010, he oversaw Seoul's status as a World Design Capital. He also established the Korea Institute of Design Management (KIDM). I had the great pleasure of working with Dr. Chung (and his colleague Dr. Yu‐Jin Kim) on a DMI/KIDM case study of Hyundai Motor that is now available from Harvard Business School Press. DMI's case study program began in the mid‐1980s, when then‐president Earl Powell (in collaboration with Harvard Business School) commissioned more than a dozen case studies in a program directed by the late Karen Freeze, then director of research at DMI. It is safe to say that for many, many business students, these case studies provided an introduction to design and design management. “The Miracle of Han River” was written in 1993, but it still remains an excellent overview of the past (and speculation on the future) of the Korean auto industry. Read on to the end for some recently‐added commentary from Dr. Chung.
      PubDate: 2015-04-27T04:57:42.878934-05:
      DOI: 10.1111/drev.10304
       
  • Walking the Walk: Putting Design at the Heart of Business By Paul Gardien
           and Ferdy Gilsing
    • Authors: Brian Gillespie
      Pages: 75 - 88
      Abstract: No matter how great your global reputation for design, no matter how comfortable you are in the ways and means you employ to create great design for your company, if you wish to maintain your success and relevance as a design professional and a design organization, you must continually be open to change and able to respond to it. This article, by Philips design managers Paul Gardien and Ferdy Gilsing, will inspire anyone who believes the business of design is not a static thing but rather dynamic and in constant evolution. What is clear is that this evolution is not so much a movement from one stage to another as it is an accumulation of roles and responsibilities. The authors clearly describe the evolution of the role of design in business over the past several decades and outline how Philips Design is tackling this challenge and succeeding. Philips Design established a model that can be usefully employed to benchmark your own company's maturity and also to tackle the opportunities your self‐reflections reveal. However, some may gaze enviously at a company with a 500‐plus‐person design organization operating from 18 or locations and wonder, “Can this be relevant for my much smaller organization?” It would be interesting to hear whether the model and its approach are adaptable for organizations of all size and industry. Also, since our “connected” world invites greater integration across people, places, and things, new ways must be found to integrate multi‐disciplinary design teams. It would be interesting to learn how companies that are working with external preferred and integrated design entities are managing these relationships to advance the role of the internal design organization as it matures to become a strategic partner to the business. Finally, let's realize that the highest level of maturity, in which design is fully integrated as a strategy throughout the organization, is not just a pinnacle of design thinking but also a pinnacle of strategic design management. Let it be about design thinking, design managing, and design doing! Gardien and Gilsing hope the publication of this work is “to kick‐start a discussion within the wider design management community and find new ways to benchmark our work together.” Let's not fail them on this!
      PubDate: 2015-04-27T04:57:40.558938-05:
      DOI: 10.1111/drev.10305
       
 
 
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