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Institutions and Legitimations in Finance for the Arts Lunde Jørgensen, Ida Document Version Final published version Publication date: 2016 License CC BY-NC-ND Citation for published version (APA): Lunde Jørgensen, I. (2016). Institutions and Legitimations in Finance for the Arts. Copenhagen Business School [Phd]. PhD series No. 25.2016 Link to publication in CBS Research Portal General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us ([email protected]) providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 COPENHAGEN BUSINESS SCHOOL IN FINANCE FOR THE ARTS INSTITUTIONS AND LEGITIMATIONS SOLBJERG PLADS 3 DK-2000 FREDERIKSBERG DANMARK WWW.CBS.DK ISSN 0906-6934 Print ISBN: 978-87-93483-14-9 Online ISBN: 978-87-93483-15-6 Ida Lunde Jørgensen INSTITUTIONS AND LEGITIMATIONS IN FINANCE FOR THE ARTS PhD School in Organisation and Management Studies PhD Series 25.2016 PhD Series 25-2016 Institutions and Legitimations in Finance for the Arts Ida Lunde Jørgensen Main Supervisor: Benedikte Brincker Doctoral School of Organisation and Management Studies Copenhagen Business School Co-Supervisor: Roy Suddaby Peter B. Gustavson School of Business, University of Victoria Newcastle University Business School 1 Ida Lunde Jørgensen Institutions and Legitimations in Finance for the Arts 1st edition 2016 PhD Series 25.2016 © Ida Lunde Jørgensen ISSN 0906-6934 Print ISBN: 978-87-93483-14-9 Online ISBN: 978-87-93483-15-6 The Doctoral School of Organisation and Management Studies (OMS) is an interdisciplinary research environment at Copenhagen Business School for PhD students working on theoretical and empirical themes related to the organisation and management of private, public and voluntary organizations. All rights reserved. No parts of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in writing from the publisher. Dedicated to my granddad, Jens Christian Jørgensen, and all the wonderful teachers of this world. 3 4 Acknowledgements Writing this dissertation has been single most challenging and rewarding academic project I have ever undertaken. But a dissertation is not the effort of just one person; many debts of gratitude are owed. First and foremost, I would like to thank my main supervisor Benedikte Brincker, Centre for Business History, Department of Management Politics and Philosophy, Copenhagen Business School, who for the past four years has proven a wonderful sparring partner, mentor and friend. I am forever grateful for the sincerity, patience and generosity with which you have engaged with my work. With an uncanny acuity to the fears and hopes of any PhD student, the Irish poet William Butler Yeats writes; tread softly, because you tread on my dreams – you have understood this implicitly – and that has made all the difference. I would also like to extend my utmost gratitude to my co-supervisor, Roy Suddaby, Professor and Research Advisor at Peter B. Gustavson School of Business, University of Victoria, and Newcastle University Business School. I have been immensely grateful for your openness, mentoring and way of being, from our very first meeting at EGOS in 2013, through a wonderful research stay at University of Victoria during September 2015 and our continued collaboration. Thank you for the kindness you showed my family, while we visited Victoria. Thanks to my wonderful office-mate Josef, from Uppsala University. And thank you to the wonderful scholars and staff at Peter B. Gustavson School of Business, I hope to see you all again. A special thank you to the Department of Business and Politics at Copenhagen Business School, for selecting this project for a stipend, when it was at its earliest stage, for providing an enriching and inspiring environment and for continuous support throughout the development of my project. I would especially like to thank Anker Brink Lund and Centre for Civil Society Studies for interesting seminars and feedback, as well as Liv Egholm Feldt and Per Øhrgaard for acting as discussants at my first WIP. Thank you to the lovely colleagues; Professors, PhD-students and administrative staff at DBP, who made it a joy to come to work. I would particularly like to thank Juan for being the world’s best office-mate, Magnus for sharing his contagious enthusiasm with the work of Boltanski and Thévenot, and not least Verena for so many lovely memories along the way. A big thank you also to Hans Krause Hansen and the entire Doctoral School of Organisation and Management Studies for four wonderful years in OMS. I would also like to thank the Department of Government at London School of Economics, for a wonderful trimester (in both senses!) during the fall of 2013. Particularly, I would like to thank Professor John Hutchinson and Professor Mark Thatcher for their seminars and guidance and not least the lovely PhD students at the Department of Government. A special thank you to my family, Michael and Margit, and friends Lise, Chris, Nik and David for making the stay so enjoyable. 5 In a fortuitous turn of events, and in perfect synchronicity with budding interests, I have been able to spend the last eight months of my work at the Department of Management Politics and Philosophy’s Centre for Business History here at Copenhagen Business School. In this regard, I would like to extend my utmost gratitude to Centre Director, Mads Mordhorst, Head of Department, Lotte Jensen, Head of Secretariat, Henrik Hermansen, and all the wonderful colleagues at the centre and department for their kindness and inclusivity. You are a true inspiration and I hope to contribute to, collaborate and engage with your way of working much more in the future. Along the way many people have offered invaluable guidance and feedback. I am indebted to my master thesis supervisor Can Seng Ooi, Center for Leisure and Culture Services, Department of International Economics and Management who helped form the earliest ideas of this project and Eleonora Belfiore, Centre for Cultural Policy Studies, University of Warwick, whose insights during an interview in 2011 gave me a sense of what could be interesting to study, both should also be thanked for encouraging me to pursue a PhD. I would also particularly like to thank Mukti Khaire, Bernard Leca, Roy Suddaby and the participants of Stream 13, for their inspiring papers and invaluable feedback to some very early ideas at EGOS in Montreal. The organisers and participants of the ‘Uses of the past’ PDW at Copenhagen Business School, December 2015, are also thanked for their generous feedback to an early version of paper 3, particularly Andy Popp and Daniel Wadhwani. Eva Boxenbaum, Department of Organization, Copenhagen Business School and Christina Lubinski, Centre for Business History, Department of Management Politics and Philosophy are thanked for generously giving feedback at my Closing Seminar, which helped me in the final stages of the project. I would also like to thank the organisers and participants at the Strategic Entrepreneurship Journal’s PDW and Business History Conference this April in Portland, Oregon, for inspiring presentations and generous comments. The openness and availability of the New Carlsberg Foundation and the Danish Arts Foundation has provided invaluable background information and source material for this thesis. Particularly, I would like to thank Anne Krøjgaard, Hans Edvard Nørregård-Nielsen, Karsten Ohrt, Morten Kyndrup, Maria Fabricius-Hansen, Tom Hermansen and Claus Grønne of the New Carlsberg Foundation. Nørregård-Nielsen in particular should be thanked for his beautiful and evocative writings about Danish art and philanthropy, which made the reading of the foundations (he has served in both) annual reports a joy. I would also like to sincerely thank Jesper Smed Jensen, Anette Østerbye and Gitte Ørskou of the Danish Arts Foundation. Last, but not least I would like to thank my friends and family. Mum, Dad and Marie, Mona and Jens. But above and beyond anyone else – Anders – We have been through this before, when you submitted your PhD 30 days after the birth of our wonderful baby boy. Becoming a family and a parent, has been a greater joy than I could ever have imagined. Thank you for doing so much to keep this family, loved, fed and occasionally taken out for fresh air. Ida L. Jørgensen, Copenhagen, May 27th, 2016 6 Preface The following dissertation aims to improve the theoretical and empirical understanding of public and private support for the visual arts, both at an institutional and organisational level. This topic is increasingly relevant due to the on-going debate in Danish society about the power and closed nature of private foundations supporting the arts and a more regularly appearing debate concerning the purpose and practices of the Danish Arts Foundation since its establishment. Given this debate I have found it valuable, to address the foundations’ own reasons for art support, to shed light on why foundations support the visual arts. I wish to spend just a short section, here, on introducing how I arrived at the topic of the thesis. Interested in as diverse, yet intimately connected topics as business, politics, public policy, culture and visual art, my entry point into this thesis project has gone through preliminary research not addressed in the Research Strategy of this thesis, since this section reflects on the process after the larger topic had been settled upon. During my master’s degree in International Business and Politics, my interests in business, politics and public policy on one hand, and in culture and visual art, on the other, were largely separate.
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    Carlsberg Venues CARLSBERG MUSEUM & BUSINESS CENTRE THE EXCLUSIVE VENUE CARLSBERG MUSEUM & BUSINESS CENTRE THE EXCLUSIVE VENUE A UNIQUE EXPERIENCE For that crucial event, the place to meet is Carl Jacobsen’s private Lunches art collection that fills part of what was his home. He built the first Dinners Glyptotek for his steadily expanding collection of paintings and Receptions sculptures. Ultimately, the building was not large enough, and Meetings Carl built – and filled – the Ny Carlsberg Glyptotek as a gift to the Events City of Copenhagen. Today, the Carlsberg Museum & Business Product launches Centre comprises many halls and other spaces of varying size. Conferences Parts of Carl’s original collection are still displayed. Sculptures and paintings make a grand impression, as do the classical colours, wonderful murals and beautiful floors. Each hall has its own character, contributing to a unique overall experience. VALBY LANGGADE NY CARLSBERGVEJ GL. CARLSBERGVEJ CARLSBERG MUSEUM & BUSINESS CENTRE THE EXCLUSIVE VENUE OTTILIA JACOBSEN HALL CAROLINE The Carlsberg Museum & Business Centre offers JACOBSEN numerous opportunities and great flexibility. Where MODEL OF TOILET else can you find a place with guest appearances CARLSBERG CITY by such prominent late 1800s Danish artists as DISTRICT P.S. Krøyer, Anne Ancher and Wilhelm Marstrand? CLOAKROOM GARDEROBE BAR GALLERY CORRIDOR GALLERY CORRIDOR GALLERY CORRIDOR CARL JACOBSEN J.C. JACOBSEN CARL’S GARDEN CARL’S QUEENS’ HALL HALL OF PAINTINGS RAGNAROK HALL EMPRESS HALL FOYER MAIN ENTRANCE NY CARLSBERGNY VEJ TOILET DIPYLON HALL GLYPTOTEK HALL GOLDEN AGE HALL AGE GOLDEN ENTRANCE CARLSBERG MUSEUM & BUSINESS CENTRE THE EXCLUSIVE VENUE DIPYLON HALL The Dipylon Hall is named after the double-arched gate that provides the basis for the unique decoration: nine large portraits made from yellow gilded tiles, including ones portraying Ottilia and Carl Jacobsen.
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    2018 WWW.CARLSBERGFONDET.DK Carls_omslag_310515.indd 1 31/05/2018 20.44 CARLSBERGFONDET · ÅRSSKRIFT 2018 CARLSBERGFONDET · ÅRSSKRIFT 2018 © CARLSBERGFONDET 2018 REDAKTION: JANE BENARROCH · ANNE MARIE NIELSEN · RASMUS ENEVOLDSEN · PETER THOSTRUP DESIGN: KONTRAPUNKT · TILRETTELÆGNING OG PRODUKTION: K GRAFIK TRYK: NARAYANA PRESS · ISBN: 978-87-999218-1-2 Carlsbergfondet har forsøgt at finde samtlige rettighedshavere til årsskriftets illustrationer. Evt. resterende rettighedshavere til beskyttede værker bedes kontakte fondet. CARLSBERGFONDET H.C. ANDERSENS BOULEVARD 35 · 1553 KØBENHAVN V TELEFON 33 43 53 63 E-MAIL: [email protected] WWW.CARLSBERGFONDET.DK BESTYRELSE: PROFESSOR, DR.SCIENT. FLEMMING BESENBACHER, FORMAND PROFESSOR, DR.MED. SØREN-PETER OLESEN · PROFESSOR, CAND.OECON. NINA SMITH PROFESSOR, DR.SCIENT. LARS STEMMERIK · PROFESSOR, DR.PHIL. CARL BACHE SEKRETARIATSCHEF: PETER THOSTRUP · KVÆSTOR: JENS OTTO VEILE NY CARLSBERGFONDET BROLÆGGERSTRÆDE 5 · 1211 KØBENHAVN K TELEFON 33 11 37 65 E-MAIL: [email protected] · WWW.NY-CARLSBERGFONDET.DK BESTYRELSE: MAG.ART. KARSTEN OHRT, FORMAND KUNSTFAGLIG CHEF, PH.D. STINE HØHOLT · PROFESSOR, DR.PHIL. MORTEN KYNDRUP KOMMUNIKATIONS- OG SEKRETARIATSCHEF: JAKOB FIBIGER ANDREASEN CARLSBERG LABORATORIUM J.C. JACOBSENS GADE 4 · 1799 KØBENHAVN V TELEFON 33 27 27 27 E-MAIL: [email protected] · WWW.CARLSBERGLAB.DK BESTYRELSE: PROFESSOR, DR.SCIENT. FLEMMING BESENBACHER, FORMAND PROFESSOR, DR.MED. SØREN-PETER OLESEN · PROFESSOR, DR.SCIENT. LARS STEMMERIK PRESIDENT & CEO: CEES ’T HART · SENIOR VICE PRESIDENT: JESSICA SPENCE FORSKNINGSDIREKTØR & VICE PRESIDENT: ADJ. PROFESSOR BIRGITTE SKADHAUGE DET NATIONALHISTORISKE MUSEUM PÅ FREDERIKSBORG FREDERIKSBORG SLOT · 3400 HILLERØD TELEFON 48 26 04 39 E-MAIL: [email protected] · WWW.DNM.DK BESTYRELSE: KABINETSSEKRETÆR, HENNING FODE, FORMAND PROFESSOR, DR.SCIENT. FLEMMING BESENBACHER · DIREKTØR MIKKEL BOGH DIREKTØR: CAND.MAG.