OECD Culture and Local Development.pdf - PACA

CONCLUSION - DESIGNING LOCAL PUBLIC POLICIES
as much for artists as it is for the crafts, as can be seen in the trouble artisans have in
finding apprentices to carry on their businesses.
This is not to say that government needs to subsidise artists’ incomes or, as many
governments do, to underwrite markets for their products. On the other hand,
governments can help to reduce operating costs. For many artists, their low income
makes it impossible for them to pay off the cost of their facilities and equipment or
to purchase raw materials. Organisation of the local environment can play an essential
role here. This is particularly desirable when it is recognised that many enterprises
in this field are one-person businesses that have trouble making contacts and pooling
their costs.
Workable distribution networks
The distribution of cultural products has always been a problem, whether we speak
of works of art, the cultural industries, or the creative industries. Moreover, many local
producers have no ready access to markets.
• The conventional formulas, such as exhibitions or competitions that showcase
the quality of certain products and boost their prices, are not sufficient: time
and cost constraints prevent many artists and artisans from taking advantage
of them.
• Today there is increasing resort to the more traditional approaches, such as the
standard commercial channels. For example, some large department store
chains offer cultural products alongside more generic goods. But this approach
does not inspire much enthusiasm, and is open to three criticisms.
• Cultural products may become trivialised if they are used as promotional comeons
for run-of-the-mill goods that may serve the same purposes.
• The cultural product in this case has to be delivered in mass quantities, and
this may run counter to the artist’s interest.
• Finally, the economic benefit is not always up to expectations: the big stores
know that they make a high profit on generic goods and they are inclined to
push them, thereby confirming the role of cultural products as lures.
• Another approach is to put exhibition halls in cultural product firms, at least
for products where this is feasible. This is a frequent practice in Quebec, for
example, where “economuseums” have been set up as businesses to
demonstrate, exhibit and sell cultural products. This approach has been found
effective, especially since the revenues generated stay within the local community.
160 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005