Search results

This paper explores the nature and operations of the supply chain that serves disadvantaged groups. With the increasing reliance on supplementary food provision through food aid, the authors seek to emphasise efficiency and sustainability in these supply chains.

Semi-structured interview data from 32 senior managers and experts from both commercial and food aid supply chains were abductively analysed to develop a relationship-based map of the food chains that serve disadvantaged groups.

Disadvantaged groups are served by a hybrid food supply chain. It is an interconnected supply chain bringing together the commercial and the food aid supply chains. This chain is unsurprisingly plagued with various challenges, the most critical of which are limited expertise and resources, operational inefficiencies, prohibitive logistics costs and a severe lack of collaboration.

This study identifies the currently limited role of logistics companies in surplus food redistribution and highlights future pathways. Additionally, the authors present useful actionable propositions for managers, practitioners and policymakers.

The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.

This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.

It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.

The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.

The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.

This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.

The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.